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MODEKN   DWELLINGS 


THE      ENTRANCE. 


MODEEN    DWELLINGS 


IN 


TOWN  AND  COUNTRY 

ADAPTED  TO  AMERICAN  WANTS  AND  CLIMATE 

WITH  A  TREATISE  ON 

FURNITURE   AND    DECORATION 


BY  H.  HUDSON   HOLLY 


WITH  ONE  HUNDRED  ORIGINAL  DESIGNS  COMPRISING  COTTAGES 
VILLAS  AND  MANSIONS 


NEW    YORK 

HARPER    &    BROTHERS,    PUBLISHERS 

FRANKLIN    SQUARE 
1878 


Entered  according  to  Act  of  Congress,  in  the  year  1878,  by 

HARPER    &    BROTHER^, 
In  the  Office  of  the  Librarian  of  Congress,  at  Washington. 


Architecture  & 
Urban  Planning 
Library 


PREFACE. 


IN"  the  spring  of  1876,  I  prepared  an  article  on  Country-houses  for 
Haider's  Magazine,  which  was  followed  by  a  series  of  papers  on  inte- 
riors, containing  a  few  suggestions  on  household  art  in  general.  It  then 
occurred  to  me  that  the  importance  of  the  subject  would  justify  its  treat- 
ment in  a  more  extended  form.  With  this  view,  I  began  the  prepara- 
tion of  the  present  work,  which,  although  it  might  have  been  extended 
to  several  volumes  without  exhausting  the  subject,  will,  I  trust,  prove  a 
practical  and  reliable  guide  for  those  persons  who  wish  to  build,  furnish, 
and  beautify  their  houses  without  an  extravagant  outlay  of  money. 
-  In  the  following  pages  I  have  profited  considerably  by  the  writings 
of  Eastlake  and  others.  In  some  instances,  I  have  quoted  from  The 
American  Architect  and  London  Building  News,  and  also  from  a  work  of 
my  own  published  in  1863,  which  has  been  for  some  years  out  of  print. 

In  regard  to  the  designs,  I  must  acknowledge  my  indebtedness  to  Mr. 
H.  F.  Jelliffe,  who  rendered  me  great  assistance  in  working  them  up,  and 
to  Mr.  Charles  Parsons,  Superintendent  of  the  Art  Department  at  Harper 
&  Brothers,  who  has  added  greatly  to  their  attraction  by  the  graceful  in- 
troduction of  suitable  figures  and  scenery. 

I  feel  some  hesitation  in  giving  the  cost  of  the  various  dwellings 
described,  as  the  fluctuations  in  prices  are  such  that  the  expense  of  build- 
ing a  house  in  any  one  year  might  not  be  a  guide  at  another  time.  The 
estimates  I  have  given  are  based  upon  the  value  of  labor  and  material  in 

the  year  1878. 

H.  HUDSON  HOLLY. 

Ill  Broadway,  N.  Y. 


CONTENTS. 


I. -CONSTRUCTION 


CHAPTER  I. 

THE  QUEEN  ANNE  STYLE. 
Gothic  Revival. — Cottage  Architecture. — Suburban  Homes. — The  Park  System... Page  17 

CHAPTER  II. 

ECONOMY  OF  COUNTRY  LIFE. 
Fluctuations. — Blessings  of  Poverty. — Small  Homes 29 

CHAPTER  III. 

SITE. 

Cesspool  Remote  from  the  House. — Earth  Closets. — Ventilating  Sewers. — Grading  Cellar 
Floors. — Areas. — Foundations  on  Made  Ground. — Terraces. — Side  Hills. — Hydraulic 
Rams. — Cistern  Filters. — Force-pump. — Windmills 33 

CHAPTER  IV. 

PLANS. 

Views. Exposure. — Estimates. — Architect's  Supervision. — Commercial  Value  attached 

to  a  Well-arranged  Plan 42 

CHAPTER  V. 

BUILDING   MATERIALS. 
Brick. — Stone. — Concrete 48 

CHAPTER  VI. 

SPECIFICATIONS. 
Estimates.— Contracts.— Mechanic's  Lieu.— Foundations.— Rubble-work.— Pointing...  52 


10  CONTENTS. 

CHAPTER  VII. 

FRAMING. 

Timber.  —  Furring. — Cellar  Partitions.  —  Covering  a  Frame  House. — Seasoned  Lum- 
ber  Page  56 

CHAPTER  VIII. 

ROOFING. 

Metals. — Shingles. — Slate. — Testing  Slate. — Sheathing. — French  Method. — Oiling  Slate. 
— Painting  Roofs. — Tiles  for  Roofing. — Crestiugs  and  Fiuials 61 

CHAPTER  IX. 

GLASS. 
Plate-glass.— Stained  Glass. — Prismatic  Glass. — Blue  Glass 66 

CHAPTER  X. 

CHIMNEYS. 

Painting  Chimneys. — Chimneys  on  Exterior  of  Houses. — Draughts. — Security  against 
Fire. — French  System  of  laying  Floor  Beams.— Smoke  Flues.— Hot-air  Registers...  71 

CHAPTER   XI. 

COST  OF  HOUSES. 
Miscalculation  of  Expense. — Simple  Rule  for  making  Estimates 78 

CHAPTER  XII. 

ARCHITECTS'  DUTIES  AND  CHARGES. 

American  Institute  of  Architects. — Preliminary  Sketches. — Plans. — Specifications. — De- 
tail Drawing. — Supervision. — Speculative  Building 82 

CHAPTER  XIII. 

PLUMBERS'    BLUNDERS. 

The  Overflow  of  Tanks.  —  Boiler  Explosions.  —  Leaky  Gas -pipes.  —  The  Lightning-rod 
Man 88 

CHAPTER  XIV. 

HEATING  AND  VENTILATION. 

Large  Furnaces.— Open  Grates. — Ventilating  Sliaft. — Ventilators  in  Windows. — Venti- 
lating Soil-pipes. — Tin  Flues  in  Dark  Rooms 94 


CONTENTS.  11 

CHAPTER  XV. 

STEAM   HEATING.— ELECTRICITY. 
Pure  Air. — Automatic  Contrivances. — Electric  Signals. — Burglar  Alarms Page  100 

CHAPTER  XVI. 

ALTERATIONS. 
Remodelling  Houses. — Self-styled  Architects. — Saving  Expense 104 

CHAPTER  XVII. 

LIBRARY. 
Nooks  and  Cubby-holes 107 

CHAPTER  XVIII. 

KITCHEN. 
The  Comfort  of  Servants 114 

CHAPTER  XIX. 

BILLIARD-ROOM. 
Billiards  as  an  Amusement. — Location  of  Room. — Tables 118 

CHAPTER  XX. 

BLINDS. 
Inside  and  Outside  Shutters. — Venetian  Blinds. — Shades. — Wire  Screens 122 

CPIAPTER  XXI. 

CARE  NECESSARY  IN  ADAPTING  A  ROOM  TO  FURNITURE. 

Hot-air  Registers. — Location  of  Doors  and  Windows.  —  Position  for  the  Piano. — Gas- 
fixtures,  etc 126 

CHAPTER  XXII. 

THE  MANSION. 
Arrangement  of  Roads. — Natural  Effect. — Planting  of  Trees. — View  from  Railway....  129 

CHAPTER  XXIII. 

CITY  ARCHITECTURE. 
The  Law  of  Alignment. — Amusing  Story  by  the  RCA*.  Walter  Mitchell 138 


12  CONTENTS. 


II -FURNITURE  AND   DECORATION. 
CHAPTER  I. 

INDUSTRIAL  ART  EDUCATION.  ( 

The  Necessity  of  it   in   the  United   States.  —  Impulse   given  to   it  by  the   Centen- 
nial  Page  151 

CHAPTER  II. 

COLOR. 

Interior  Decorations  directed  by  Architect. — Theory,  Effects,  and  Gradations  of  Color. — 
Symmetry 158 

CHAPTER    III. 

PAPER-HANGING. 
Selection  of  Patterns. — Adaptation  of  Colors 163 

CHAPTER  IV. 

CEILINGS. 
Cornices. — Mouldings. — Location  of  Chandelier. — Country  Decorators 166 

CHAPTER  Y. 

BORDERS. 
Ceilings. — Friezes.  —Stamped  Leather. — Legendary  Decoration. — Wood-panelling. ...  169 

CHAPTER  VI. 

BACKGROUNDS. 
Harmony  of  Colors. — Majolica  Ware. — Bric-a-brac 173 

CHAPTER  VII. 

ADVANCED  ARTS  ABROAD. 
Some  Descriptions  of  late  English  Work 175 

CHAPTER  VIII. 

FURNITURE. 

Durability  and  Honesty  in  Furniture. — Treatment  of  Wood. — Graining. — Painting. — 
Staining. — Oiling  and  Varnishing. — The  Arch.— Cross  Grain. — Bent  Wood 183 


CONTENTS.  13 

CHAPTER  IX. 

LEGITIMATE  WOOD -WORK. 

Gluing. — Carving  in  Solid  Wood. — Sideboard. — Marble  Top. — Fine  China. — Painting  on 
Pottery Page  18G 

CHAPTER  X. 

FIREPLACES. 

Mantels. — Marble  Mantel. — Wooden  Mantel. — Open  Fireplaces. — The  Crane. — Hearths. — 
Tile. — Tile  in  Furniture. — Screens 189 

CHAPTER  XL 

COLONIAL    FASHIONS. 

Fashion  iu  Furniture. — Dining-room. — High-back  Chair. — Diniug-table. — Dining-rooms 
treated  in  Dark  Colors. — Table-cloth 194 

CHAPTER  XII. 

BOOKCASES  AND  PIANOS. 

Light  in  Library. — Bay-windows. — Hooded  Chimney-piece. — Music-stool. — Music- 
stand 198 

CHAPTER  XIII. 

PLANTS. 

Flower  Decoration.  —  Swiss  Scene.  —  Miniature  Conservatory.  —  Buckingham  Hotel. — 
Pottery  and  Wooden  Chests  in  Fireplaces 202 

CHAPTER  XIY. 

BEDROOM   FURNITURE. 
Fashionable  Furniture. — Architect  designing  Furniture 205 

CHAPTER  XV. 

METALS. 

Locks.  —  Bolts. — Handles. — Hinges.  —  Imitation  in  Metals.  —  Sconce.  —  Mirror.  —  Chan- 
delier   ..  207 


14  CONTENTS. 

CHAPTEK  XVI. 

HOME  ART. 

Gentlemen  as  Amateur  Cabinet-makers. — Ladies  as  "Wall  Decorators. — Imitation  Stained 
Glass. — Home-made  Curtains. — Kods  and  Brackets. — Fret  or  Bracket  Saws. — Bur- 
laps Hearth-rug. — Impromptu  Sconces.  —  Grouping  of  Flags.  —  Renewing  Picture- 
frames Page  210 

CHAPTER  XYIL 

ART-SCHOOLS  FOR  WOMEN. 

Woman's  Carving  School  of  Cincinnati. — Royal  School  of  Art  Needle-work. — Industrial 
Arts  taught  in  our  Schools. — Artists  decorating  Walls. — Adapting  Curious  Workman- 
ship.— Trousseau  Chest  and  Old  Mantel 216 


LIST  OF  ILLUSTRATIONS. 


THE  ENTRANCE Frontispiece 

GATE-WAY 17 

DESIGN  No.  1. — SMALL  COTTAGE,  OR  LODGE.  .  22 

GROUND-PLAN  FOR  DESIGN  No.  1 24 

DESIGN  No.  2 30 

FIRST-FLOOR  PLAN  OF  DESIGN  No.  2 31 

DESIGN  No.  3 38 

FIRST-FLOOR  PLAN  OF  DESIGN  No.  3 41 

HALL  AND  STAIRCASE  OF  DESIGN  No.  3 42 

DESIGN  No.  4 45 

FIRST-FLOOR  PLAN  OF  DESIGN  No.  4 46 

DESIGN  No.  5 49 

FIRST-FLOOR  PLAN  OF  DESIGN  No.  5 51 

DESIGN  No.  6 63 

FIRST-FLOOR  PLAN  OF  DESIGN  No.  6 55 

DESIGN  No.  7 57 

FIRST-FLOOR  PLAN  OF  DESIGN  No.  7 59 

DESIGN  No.  8 63 

FIRST-FLOOR  PLAN  OF  DESIGN  No.  8 65 

DESIGN  No.  9 67 

FIRST-FLOOR  PLAN  OF  DESIGN  No.  9 69 

DESIGN  No.  10 73 

FIRST-FLOOR  PLAN  OF  DESIGN  No.  10 75 

VIGNETTE  OF  DESIGN  No.  10 76 

DESIGN  No.  11 79 

BALCONY  FROM  WITHIN,  IN  DESIGN  No.  11..  80 

FIRST-FLOOR  PLAN  OF  DESIGN  No.  11 81 

DESIGN  No.  12 84 

FIRST-FLOOR  PLAN  OF  DESIGN  No.  12 86 

MAIN  STAIRCASE,  DESIGN  No.  12 87 

RECESSED  BALCONY 88 

DESIGN  No.  13 91 

FIRST-FLOOR  PLAN  OK  DESIGN  No.  13..          .  92 


DESIGN  No.  14 95 

FIRST-FLOOR  PLAN  OF  DESIGN  No.  14 98 

GABLE  OF  DESIGN  No.  14 98 

DESIGN  No.  15 101 

FIRST-FLOOR  PLAN  OF  DESIGN  No.  15 103 

DESIGN  No.  16 105 

FIRST-FLOOR  PLAN  OF  DESIGN  No.  16 106 

THE  LIBRARY,  IN  DESIGN  No.  16 107 

DESIGN  No.  17 ,  110 

FIRST-FLOOR  PLAN  OF  DESIGN  No.  17 112 

SERVANT'S  PORCH,  IN  DESIGN  No.  17 113 

DESIGN  No.  18 115 

FIRST-FLOOR  PLAN  OF  DESIGN  No.  18 116 

STAIRCASE  HALL,  IN  DESIGN  No.  18 117 

THE  BILLIARD-ROOM 119 

DESIGN  No.  19 120 

FIRST-FLOOR  PLAN  OF  DESIGN  No.  19 121 

INTERIOR  OF  BAY-WIXDOW 122 

DESIGN  No.  20 124 

FIRST-FLOOR  PLAN  OF  DESIGN  No.  20 125 

DESIGN  No.  21 126 

FIRST-FLOOR  PLAN  OF  DESIGN  No.  21 128 

DESIGN  No.  22 130 

GRAND  STAIRCASE,  IN  DESIGN  No.  22 181 

FIRST-FLOOR  PLAN  OF  DESIGN  No.  22 132 

BEDROOM,  IN  DESIGN  No.  22 134 

CORNER  MCLLION,  IN  DESIGN  No.  22 136 

DESIGN  No.  23 139 

PARLOR,  IN  DESIGN  No.  23 145 

FIRST-FLOOR  PLAN  OF  DESIGN  No.  23 146 

SECOND-FLOOR  PLAN  OF  DESIGN  No.  23  ....  147 

BOCDOIR,  IN  DESIGN  No.  23 148 

LIBRARY,  IN  DESIGN  No.  23 149 


16 


LIST  OF  1LLUSTKATIONS. 


FIG.  1. — FRIEZE  :  THE  LADY  OF  SHALOTT  . .  151 

"     2.— WALL-PAPER 152 

«     3.— WALL-PAPER 153 

»     4.— WALL-PAPER 156 

"     5. — HUNTING  SCENE 159 

"    6. — GARDEN  SCENE 161 

"     7. — GUELDER-ROSE  FOR  WALL-DIAPER.  ..  164 

"    8. — GUELDER-ROSE  FOR  FLOOR  PATTERN.  164 

"     9. — HARBOR  SCENE 169 

«  10.— WOOD  PANEL 171 

"  11. — HALL  AND  STAIRCASE 177 

"  12. — "ANGLO-JAPANESE"  PARLOR......  178 

"  13.— LIBRARY  TABLE 179 

"  14.— HALL  SETTLE 180 

"  15.— PARLOR  SOFA 181 

"  16. — HIGH-BACKED  CHAIR 183 

"  17. — SUBSTITUTE  FOR  A  CURVED  BACK.  .  183 

"  18. — CURTED-BACK  CHAIR 185 

"  19.— STAIR  NEWEL 186 

"  20.— SIDEBOARD 187 

"  21.— MARBLE  MANTEL 189 

"  22.— WOOD  MANTEL 190 

"  23.— " FIRESIDE  STORIES" 192 

"  24.— SCREEN  PANEL 193 

"  25. — SOME  EXAMPLES  OF  MODERN  UPHOL- 
STERY . .  .194 


FIG. 26. — A  CHAIR  OF  THE  NEW  SCHOOL...  195 

"  27. — SPECIMENS    OF    THE    REFORMED 

SCHOOL 196 

"    28. — DINING-ROOM  INTERIOR 197 

"    29. — NEO- JACOBEAN  BOOKCASE 198 

"    30. — THE  LIBRARY 199 

"    31. — UPRIGHT  PIANO 200 

"  32. — ENGLISH    DESIGN   OF    GRAND    PI- 
ANO    200 

"    33. — MUSIC-STAND 201 

"    34. — FLOWER-STAND 202 

"    35. — FLOWER-VASE 203 

"  36. — GLIMPSE  OF  THE  DINING-ROOM  ....  204 

"    37. — HANGING  CABINET 206 

"    38.— DOOR  LOCK 208 

"    39. — DRAWER  LOCK 209 

"    40. — DRAWER  HANDLE 209 

"    41.— BOLT 209 

"    42.— HINGE 210 

"    43. — LIGHTER  HINGE 211 

"    44. — CHANDELIER 212 

"    45.— A  SCONCE 213 

"    46. — BEDROOM  FURNITURE 214 

"  47. — DRESSING-TABLE  AND  CABINET....  215 

"    48.— WASH-STAND 216 

"  49.— COMMODE  . .                                   .218 


MODEBN  DWELLINGS. 


PART  I. 

CONSTRUCTION. 


CHAPTER  I. 

THE   QUEEN  ANNE   STYLE. 
Gothic  Revival. — Cottage  Architecture. — Suburban  Homes. — The  Park  System. 

A  RCHITECTURE  is  a  comparatively  new  art  in  this  country,  and 
•£*•  has  had  but  little  earnest  and  intelligent  study;  so  we  cannot  be  said 
to  have  any  styles  and  systems  peculiarly  our  own.  In  the  absence  of 
such,  we  have  been  too  apt  to  use,  inappropriately,  the  orders  of  foreign 
nations,  which  express  the  especial  needs  of  those  countries,  and  those 
alone.  Yet  out  of  our  necessities  there  have  grown  certain  idiosyncrasies 
of  building  which  point  toward  an  American  style.  Doubtless  we  may 
introduce  from  abroad  methods  of  design  which  meet  our  requirements, 
but  we  must  not  hesitate  to  eliminate  those  portions  for  which  we  have 
no  use,  or  to  make  such  additions  as  our  circumstances  demand. 

For  instance,  in  our  pure  atmosphere,  where  odors  are  readily  absorbed, 
it  would  be  foolish,  except  in  large  establishments,  to  build  the  kitchen 
apart  from  the  house  to  escape  from  its  fumes,  when  a  simple  butler's 

2 


18  MODERN  DWELLINGS. 

pantry  between  it  and  the  dining-room  would  effectually  prevent  their 
entrance.  So,  too,  it  would  be  the  merest  folly,  in  building  an  English 
cottage,  not  to  have  a  veranda,  simply  because  its  prototypes  in  Eng- 
land have  none.  We  evidently  have  need  of  this  appliance  in  our  dry 
and  sunny  climate.  From  such  requirements  a  distinctive  feature  of 
American  architecture  must  arise. 

In  this  way  we  are  doubtless  building  up  an  architecture  of  our  own, 
profiting,  as  other  founders  of  style  have  done,  by  precedents  in  older 
countries.  Our  materials,  climate,  and  habits  differ  enough  from  those 
of  Europe  to  demand  a  material  change  in  their  use  and  arrangement. 
For  example,  in  European  countries,  wood,  a  most  valuable  building  ma- 
terial, is  rare  and  expensive,  while  in  most  sections  of  our  own,  it  is  very 
abundant.  But  instead  of  using  this  in  accordance  with  its  nature  and 
capacities,  we  have  stupidly  employed  it  in  copying,  as  exactly  as  we  can, 
details  of  foreign  architecture,  which  were  designed  with  reference  to  the 
constructive  capacities  of  brick  and  stone ;  hence  wre  see  rounded  arches, 
keystones,  and  buttresses  of  wood ;  wood  siding  is  sanded  and  blocked  off 
to  represent  stone ;  and  the  prosperous  American  citizen,  with  a  taste  for 
feudal  castles,  like  Horace  Walpole,  may  live  to  see  three  sets  of  his  own 
turrets  decay.  Fortunately  our  people  are  beginning  to  recognize  the 
folly  of  such  unmeaning  shams ;  and  when  brick  or  stone  is  adopted,  it  is 
treated  as  such  ;  and  when  wood  is  employed,  we  are  properly  commenc- 
ing to  show  details  adapted  to  its  nature.  Until,  however,  we  come  to 
possess  a  vernacular  style,  we  must  content  ourselves  with  copying ;  and 
the  question  arises,  Which  of  the  innumerable  systems  is  best  suited  to 
our  requirements?  We  have  tried  the  Egyptian,  but  nothing  cheerful 
seems  to  have  been  the  result,  as  our  City  Prison  will  testify.  The  Greek, 
as  set  forth  by  Stuart  and  Rivett,  has  had  a  more  successful  career;  but 
while  "counterfeit  presentments"  of  the  temples  of  the  gods  have  mocked 
the  eye  with  their  exterior  of  wood  and  whitewash,  so,  within,  we  might 
sometimes  find  the  Pythia  with  a  wash-bench  for  a  tripod,  with  the  fumes 
of  soapsuds  representing  the  vapor  of  inspiration. 

But  the  Gothic  revival,  started  by  the  masterly  hand  of  Pugin,  glori- 
fied and  made  national  by  such  men  as  Street  and  Ruskin,  seemed  to  have 
decided  the  matter,  and  both  England  and  America  rested  with  unmo- 
lested satisfaction  until  within  the  last  few  years,  when  it  was  suddenly 
discovered  that  the  Gothic,  however  well  adapted  for  ecclesiastical  pur- 
poses, was  lacking  in  essential  points  for  domestic  uses;  and  Norman  Shaw, 
J.  J.  Stevenson,  and  others  have  openly  advocated  this  view.  Their  ar- 
gument was  that  the  Gothic  meant  the  development  of  the  arched  con- 


THE  QUEEN  ANNE  STYLE.  19 

struction  in  the  pointed  work,  vaulted  and  traceried  windows ;  and  that 
while  these  features  were  suited  to  churches  and  great  halls,  they  were  un- 
fitted for  modern  domestic  structures,  divided  as  they  are  into  compara- 
tively low  stories  ;  therefore,  that  even  in  the  dwellings  of  the  Middle 
Ages,  when  this  style  reached  its  highest  perfection,  its  characteristic  feat- 
ures could  not  be  displayed.  In  fact,  Gothic  architecture  was  not  origi- 
nally intended  to  meet  domestic  wants. 

There  are  some  who  are  so  carried  awray  with  the  architecture  that 
happens  to  be  in  vogue,  that  they  consider  it  indispensable,  regardless  of 
its  adaptability,  like  the  quack  doctor,  who,  finding  that  a  certain  medicine 
is  efficacious  in  one  disease,  advertises  its  infallible  power  to  cure  "  all 
the  ills  that  flesh  is  heir  to."  This  was  displayed  recently  in  a  competi- 
tion for  furnishing  plans  for  a  town-hall  in  Paisley,  England,  in  which  a 
Gothic  design  was.  selected,  resembling,  not  only  in  its  general  appearance, 
but  in  all  its  details,  inside  and  out,  a  cathedral.  So,  too,  in  this  country. 
An  expensive  villa  near  our  city,  built  after  a  Gothic  design,  is  so  wedded 
to  the  style,  that,  notwithstanding  the  absence  of  natural  shade,  it  has 
neither  porch  nor  veranda  to  serve  as  a  protection  from  the  rays  of  our 
almost  tropical  sun.  Common-sense  should  be  at  the  base  of  all  true  art, 
as  well  as  of  all  true  living  and  thinking. 

These  writers  exempt  themselves  from  a  slavish  conformity  to  the 
Gothic,  admirable  as  it  may  be  in  its  proper  sphere,  on  the  ground  that 
it  is  manifestly  inadequate  to  meet  all  domestic  requirements.  One  of  the 
principles  upon  which  the  promoters  of  the  Gothic  revival  insisted  witli 
energy  and  eloquence  was  "  truth  in  architecture ;"  that  the  construction 
should  not  be  hidden  under  some  fair-seeming  mask  which  had  no  affinity 
with  it,  and  often  represented  something  very  different  from  it,  but  should 
be  made  apparent,  and  the  basis  of  whatever  adornment  should  be  em- 
ployed. But  the  new  reformers  say  that  truth  is  not  the  peculiar  pos- 
session of  Gothic  architecture ;  and,  indeed,  modern  Gothic  has  often  found 
the  temptations  of  an  age  that  loves  to  be  deceived  too  strong  for  it,  and 
has  fallen  into  the  errors  of  the  system  it  has  attempted  to  replace.  What, 
then,  do  they  propose  as  a  substitute  for  this  in  domestic  architecture  '* 
They  claim  that  in  what  is  loosely  called  the  "  Queen  Anne "  style  we 
find  the  most  simple  mode  of  honest  English  building,  worked  out  in  an 
artistic  and  natural  form,  fitting  with  the  sash-windows  and  ordinary  door- 
ways which  express  real  domestic  needs  (of  which  it  is  the  outcome) ;  and 
so,  in  our  house-building,  conserving  truth  far  more  effectively  than  can  be 
done  with  the  Gothic.  One  great  advantage  in  adopting  this  and  other 
styles  of  the  "  free  classic "  school  is,  that  they  are  in  their  construction, 


20  MODERN  DWELLINGS. 

and  in  the  forms  of  the  mouldings  employed,  the  same  as  the  common 
vernacular  styles  with  which  our  workmen  are  familiar. 

They  are  described  by  Mr.  Ridge  somewhat  as  follows :  "  The  Queen 
Anne  revival  shows  the  influence  of  the  group  of  styles  known  as  the 
Elizabethan,  Jacobite,  and  the  style  of  Francis  L,  which  are  now  indeed 
to  be  arranged  under  the  general  head  of  '  free  classic ;'  but  it  has  also 
been  influenced  by  what  is  known  as  the  '  cottage  architecture '  of  that 
period." 

These  cottages,  which  were  common  in  the  home  counties,  are  partly 
timbered,  partly  covered  with  tile  hangings,  and  have  tall  and  spacious 
chimneys  of  considerable  merit.  They  have  really  nothing  by  which  to 
flx  their  date.  Their  details  partook  strongly  of  the  classic  character, 
while  the  boldness  of  their  outline  bore  striking  resemblance  to  the  pict- 
uresque and  ever-varying  Gothic.  Nevertheless,  they  were  very  genuine 
and  striking  buildings,  and  have  been  taken  freely  as  suggestions  upon 
which  to  work  by  Mr.  Norman  Shaw,  in  Leyswood,  Cragside,  and  a  house 
at  Harrow  Weald,  which  are  certainly  some  of  the  most  beautiful  and 
suitable  specimens  of  modern  cottage  architecture  in  England ;  and  those 
erected  by  the  British  Government  at  the  Centennial  Grounds  at  Phila- 
delphia are  adequate  illustrations  of  this  style. 

I  have  frequently  noticed  that  whereas  formerly  the  introduction  of 
any  novelty  excited  a  certain  amount  of  adverse  criticism,  that  it  took 
some  time  to  remove  (such  as  "All  Souls,"  in  Fourth  Avenue,  which, 
though  a  good  specimen  of  Italian  Gothic,  bore  for  years  the  sobriquet 
of  the  "  Beefsteak  Church "),  the  Queen  Anne,  from  its  thorough  adapt- 
ability to  the  uses  to  which  it  was  applied,  seemed  never  to  call  forth 
any  comment  of  this  kind,  and,  as  an  evident  exponent  of  domestic  re- 
quirements, became  popular  at  once,  not  only  among  the  educated,  but 
even  among  the  rustic  population. 

Mr.  J.  J.  Stevenson,  one  of  the  most  celebrated  architects  in  England, 
in  his  admirable  article  in  the  January  number  of  Harper's  Magazine 
(1876), after  styling  Gothic  as  the  "artistic  expression  of  an  obsolete  mode 
of  construction,"  and  proving  most  conclusively  the  inappropriateness  of 
this  style  for  domestic  uses,  concludes  as  follows :  "  As  there  is  a  common 
language  which  every  one  more  or  less  understands,  so  there  is  a  common 
architecture  which  arose  with  the  growth  of  modern  thought,  and  has 
been  the  architectural  style  of  the  country  for  the  last  three  centuries, 
which  every  builder  naturally  follows,  which  every  workman  has  been  ap- 
prenticed to,  and  more  or  less  understands.  But  while  our  language  has 
been  kept  up  to  a  reasonable  mark  of  artistic  excellence  by  a  high  standard 


THE  QUEEN  ANNE  STYLE.  21 

of  criticism  and  the  constant  effort  of  educated  minds,  our  vernacular 
architecture  is  characterized  by  the  vulgarity  and  commonplaceness  of  the 
men  in  whose  hands  it  has  been  left.  The  interest  of  refined  and  edu- 
cated minds  for  the  last  thirty  years  has  been  directed,  not  to  improving 
the  vernacular  style,  but  to  the  hopeless  attempt  of  supplanting  it  by  an- 
other (the  Gothic),  which  appeared  at  first  to  flourish,  but  has  not  taken 
root  in  the  soil  of  the  country." 

Now,  this  vernacular  style  is  precisely  what  this  book  is  intended  to 
advocate,  it  being  none  other  than  the  free  classic,  or  Queen  Anne. 

In  America  it  is  the  privilege  of  nearly  all  classes  to  build  for  them- 
selves homes  in  the  country,  where,  for  such  rent  as  they  would  pay  for  a 
flat  or  tenement  in  town,  they  can  secure  an  entire  house  with  sufficient 
ground  for  a  garden  and  ornamental  lawn ;  and,  if  not  immediately  in  a 
village,  sufficient  acres  can  be  obtained  to  aiford  the  luxury  of  a  horse 
and  cow,  the  products  of  the  little  farm  going  far  toward  the  support 
of  an  extra  man,  and  with  good  management  may  be  made  a  source  of 
profit  also. 

Railroads  and  steamboats  have  now  become  so  numerous  that  all 
classes,  from  the  humblest  mechanic  to  the  wealthy  banker,  can  have  their 
homes  in  the  country,  reaching  them  in  about  the  same  time  and  as  cheap- 
ly— or  nearly  so — as  the  old  omnibus  ride  from  the  City  Hall  to  the  upper 
part  of  the  city.  It  is  not  an  occasion  of  wonder,  then,  that  there  are  so 
many  ready  to  avail  themselves  of  this  rapid  transit,  and  that  we  see  stud- 
ded along  the  lines  of  our  railroads  picturesque  and  cheerful  homes,  where 
the  heads  of  families  are  not  only  recuperating  from  the  deleterious 
effects  of  the  confinement  of  city  life,  but  are,  with  the  aid  of  fresh  air 
and  wholesome  food,  laying  the  foundation  for  greater  strength  and  in- 
creased happiness  for  their  children. 

The  following  is  quoted  from  the  New  York  Herald  of  April  19th, 
187T:  "New  York  is  gradually,  year  by  year,  becoming  the  home  of  the 
very  rich  and  very  poor.  The  middle  classes  are  surely,  rapidly,  and 
permanently  removing  to  the  neighboring  localities ;  the  ample  railroad 
facilities  to  all  places  embracing  a  radius  of  twenty  miles  around  the  city, 
together  with  cheap  rents,  pure  air,  and  freedom  from  infectious  diseases 
caused  by  dirty  streets  and  other  causes  prevailing  in  large  cities,  tending 
to  make  residences  in  such  places  more  and  more  sought  for  every  year 
by  old  New  York  residents." 

In  the  selection  of  a  site,  of  course,  the  sanitary  considerations  are 
paramount.  Next  should  be  the  advantage  of  fine  scenery.  Our  country 
abounds  in  beautiful  ocean,  river,  and  mountain  views,  equal  to,  if  not 


22 


MODERN   DWELLINGS. 


surpassing,  those  of  Europe.  Yet  how  seldom  is  this  considered  in  locat- 
ing our  homes !  It  is  too  often  the  case  that  an  unattractive,  barren  spot 
is  selected  inland,  apart  from  views,  devoid  of  trees  or  other  natural  beau- 
ties. If  a  pretty  pond  or  brook  should  enliven  the  scene,  the  former  is 
probably  filled  up,  or,  at  least,  stoned  around  like  a  dock,  and  the  brook 
is,  as  likely  as  not,  turned  into  a  sewer.  Of  course  there  are  reasons  why 
these  beautiful  sites  cannot  always  be  chosen.  One  is,  they  are  apt  to  be 
lonely.  Society  is  a  consideration,  and  society,  strange  to  say,  will  not 
bear  you  out  in  the  love  for  the  picturesque ;  so  that  your  family  must 
either  possess  superior  resources  within  themselves,  or  have  the  means  of 
entertaining  largely  in  order  to  find  contentment  in  the  "  Happy  Yalley." 


Design  No.  1 — Small  Cottage,  or  Lodge. 

There  is  a  method  adopted  in  England,  however,  by  which  fine  scen- 
ery and  agreeable  company  may  not  be  incompatible.  It  is  by  a  num- 
ber of  families  clubbing  together,  and  procuring  an  attractive  spot,  filled 
with  shady  nooks  and  pleasant  streams,  which,  by  mutual  agreements 
and  some  slight  restrictions,  can  be  laid  out  in  a  picturesque  manner  for 
building. 

The  park  system  has  been  attempted  in  this  country,  but  hitherto  it 
has  generally  failed  of  success,  for  the  reason  that  the  projectors  lacked 


THE  QUEEN  ANNE   STYLE.  23 

the  knowledge  necessary  to  select  the  locations,  to  say  nothing  of  laying 
out  or  conducting  the  parks  when  complete.  Instead  of  employing  an 
educated  landscape-gardener,  who  would  take  advantage  of  its  topography, 
and  with  care  arid  judgment  would  accommodate  the  roads  to  the  natural 
curves  and  best  positions  for  building,  they  are  satisfied  if  only  an  outline 
survey  be  made,  the  roads  laid  out  on  the  checker-board  pattern,  and  the 
lots  numbered  in  the  auctioneer's  office.  The  proprietors  then  cause  the 
place  to  be  extensively  advertised,  and  the  lots  sold  to  the  highest  bidder. 
The  result  is  that  the  ground  is  seldom  improved,  because  one  does  not 
know  who  his  next-door  neighbor  may  be,  or  what  he  may  do ;  or  if  one 
has  the  temerity  to  build  and  settle,  he  finds  the  roads  are  left  to  grow  up 
with  weeds,  and  there  are  no  funds  to  keep  them  in  order ;  moreover,  he 
discovers  that  none  of  the  owners  intends  building,  as  each  has  bought 
only  on  speculation,  and  will  not  sell  unless  for  extravagant  prices.  Like 
the  dog  in  the  manger,  these  speculative  owners  neither  improve  the  land 
nor  allow  any  one  else  to  do  so. 

Now,  as  parks  on  this  system  have  hitherto  proved  a  failure,  could 
not  the  community  plan  be  adopted,  combining  real  business  and  real 
taste,  making  judicious  laws  and  restrictions  simply  with  the  view  of  fa- 
cilitating improvements  and  keeping  up  the  enterprise  ?  Of  course  the 
value  of  this  would  not  be  solely  of  a  social  character ;  for  if  each  one 
takes  pains  to  keep  up  his  own  place  and  contributes  to  the  care  of  the 
roads,  he  enjoys  the  advantages  of  cultivated  surroundings  as  if  the  whole 
were  his  private  estate.  It  has  been  objected  that,  by  this  method,  they 
experience  too  much  restraint ;  that  all  their  ground  is  common  lawn ; 
that  they  cannot  keep  a  horse  or  cow,  etc.  But  there  can  be  no  objection 
to  having  each  place  enclosed,  though  pains  should  be  taken  to  have  a 
tasteful  barrier.  All  kinds  of  fencing  would  not  be  suitable  for  a  park. 
An  inexpensive  plain  wire-work  painted  the  color  of  the  grass,  so  as  to  be 
as  nearly  invisible  as  possible,  would  be  the  most  appropriate. 

Perhaps  as  satisfactory  a  way  of  arranging  these  conditions  would  be 
to  submit  all  plans  of  improvement  to  the  censorship  of  a  commission; 
but  it  would  be  wisest  to  have  as  little  constraint  as  possible,  for  men  of 
education  and  taste  in  our  day  seldom  go  very  wide  of  the  mark.  No 
one  is  expected  to  grow  potatoes  on  his  lawn,  or  build  a  barn  in  front  of 
his  house. 


24  MODERN  DWELLINGS. 

DESIGN   No.  1. 

1.  Porch;  2.  Main  hall;  3.  Kitchen,  10x17;  4.  Living-room,  10 X 12.— Estimated  cost,  $2200. 

In  this  series  of  cottages,  it  would,  perhaps,  be  appropriate  to  com- 
mence with  the  gate  entrance,  in  connection  with  the  porter's  lodge,  at 
the  entrance  of  such  a  park  as  we  have  just  described,  in  which  we  might 
expect  to  find,  each  on  its  appropriate  site,  the  following  designs. 

The  lodge  should  not  be  so  large  or  conspicuous  as  to  be  mistaken  for 
the  mansion,  but  should  be  more  simple  in  its  architecture,  although  ac- 
cording sufficiently  with  it  to  show  its  re- 
lationship. For  this  reason  we  build  the 
foundation  only  of  brick,  while  the  first 
story  is  of  less  pretentious  material.  Here 
the  simple  clapboard  construction  appears ; 
and  to  give  it  variety  and,  at  the  same 
time,  to  show  its  connection  with  the  man- 
sion, the  second  story  is  covered  with  cut 
ornamental  shingles,  while  the  roof  should 
be  of  slate.  One  of  the  most  important  re- 

Ground-plan  for  Design  No.  1.  .  . 

quirements  is  that  there  should  be  an  agree- 
able effect  of  color.  Let,  therefore,  the  clapboards  on  the  first  story  be 
of  French  gray — a  color  harmonizing  with  the  brick — the  shingles  buff, 
and,  if  the  house  be  well  shaded,  the  trimmings  might  be  of  Indian  red 
with  black  chamfers.  If  there  is  not  much  shade,  however,  a  kind  of 
salmon  color  with  Indian-red  chamfers  would  appear  well :  the  roof  to  be 
of  dark  or  red  slate.  Red  for  roofs  seems  to  be  growing  much  in  favor, 
and  some  of  the  quarries  in  Vermont  are  producing  admirable  slates  for 
this  purpose ;  but  the  introduction  of  various  colors  I  consider  objection- 
able, as  it  is  apt  to  destroy  the  repose,  and  appears  frivolous. 

The  chimney,  being  of  red  brick,  unpainted,  might  be  relieved  occa- 
sionally with  brick  of  dark  color,  or  even  black. 

As  black  bricks  are  difficult  to  procure  in  this  country,  the  following 
recipe  for  producing  them,  by  T.  M.  C.,  taken  from  the  American  Archi- 
tect, may  be  valuable : 

Jilack  Bricks. — The  black  bricks  used  about  Boston  are  colored  by  heating  red-hot, 
and  dipping  the  exposed  surface  into  a  pan  containing  half  an  inch  or  so  of  melted  coal- 
tar.  Soft  bricks  are  the  best.  Hard  bricks  or  hard  spots  prevent  the  tar  from  penetrat- 
ing the  surface,  as  it  should  do,  to  a  depth  of  one-sixteenth  to  one-eighth  of  an  inch,  and 
the  coating  peels  off. 


THE  QUEEN  ANNE  STYLE.  25 

One  great  advantage  architects  possess  in  our  clear  atmosphere  is  the 
strong  contrast  of  light  and  shade  which  assists  materially  in  producing 
good  effects  in  building.  The  introduction  of  irregularities,  such  as  pro- 
jections of  roofs,  canopies,  verandas,  and  bay-windows,  together  with  the 
intersections  of  gables,  dormers,  and  the  height  of  chimneys,  serve  to 
break  up  the  bare  formality  of  the  usual  barn-like  outline,  and  to  obtain 
the  ever-varying  sentiment  and  expression  which  the  GREAT  ARCHITECT 
never  fails  to  give  to  all  his  rocks  and  hills.  Light  and  shade  are  the 
happiest  instruments  of  design,  and  most  easily  procured  in  our  climate, 
and  are  ever  ready  to  give  new  life  and  spirit  to  forms  properly  man- 
aged for  their  play.  The  repetition  of  the  perforated  barge  boards  in 
shadow  against  the  walls,  always  making  new  interpretations  of  its  pat- 
terns, shows  how  delicately  and  tenderly  Nature  assists  the  sympathetic 
architect. 

In  cities,  where  the  great  value  of  land  almost  precludes  the  designer 
from  availing  himself  of  these  opposing  masses,  which  can  be  produced 
in  emphasis  only  by  costly  irregularities  of  plan,  and  large  re-entering 
angles  of  outer  walls,  it  seems  necessary  to  resort  to  some  other  expedi- 
ent, where  delicacy  of  line  is  not  considered  a  sufficient  substitute  for 
the  more  massive  effects  of  chiaro-oscuro.  The  luxurious  and  sensuous 
peoples  of  the  East,  not  content  with  the  more  serious  and  sober  habits 
of  design  of  the  North,  were  accustomed  to  break  their  sky  lines  with 
pierced  parapets  and  lily  patterns,  with  swelling  domes,  with  endless 
pinnacles  and  fantastic  minarets,  to  a  degree  never  thought  of  else- 
where, and  availed  themselves  of  strong  and  vivid  contrasts  of  bright 
colors.  It  would  be  Avell  for  us  to  take  a  lesson  from  the  Eastern  nations 
in  this  respect,  and,  while  repudiating,  perhaps,  as  undignified  any  com- 
plete adaptation  of  their  endless  fancies  of  form,  to  study  their  picturesque 
use  of  external  colors,  and  let  the  walls  of  our  cities  assume  new  life  and 
meaning  by  contrasting  tints  of  various  bricks,  stones,  and  brilliant  tiles. 
This  source  of  design,  if  used  with  discretion  in  our  metropolitan  struct- 
ures, would  effect  the  happiest  results,  and  preserve  their  architecture 
from  inanity  and  insipidity. 

But  in  the  country,  where  growth  of  shapes  and  forms  is  unchecked  by 
any  consideration  of  economy  of  space,  it  seems  almost  superfluous  to  use 
decorative  external  color  to  any  great  extent — certainly,  we  think,  never 
for  its  own  sake,  as  in  the  town ;  but  so  far  as  it  may  serve  to  protect  wood- 
en surfaces,  to  assist  in  giving  expression  to  form,  and  to  harmonize  masses 
with  the  nature  around,  its  employment  is  of  great  value.  It  is,  then,  im- 
portant to  know  by  what  rule  we  are  to  be  governed  in  the  use  of  colors 


26  MODERN  DWELLINGS. 

under  these  circumstances.  It  is  evident  that  the  general  tint  covering 
the  plain  surface  of  a  small  house,  surrounded  by  trees,  should  be  light 
and  cheerful,  warm  in  its  tone,  and  of  a  neutral  rather  than  positive  char- 
acter, as  the  former  very  readily  harmonizes  with  nature.  But  do  not  fall 
into  the  opposite  extreme,  and  paint  your  house  white,  which  is  no  color 
at  all,  always  cold  and  glaring,  and  making  an  ugly  spot  in  the  landscape: 
we  find  nothing  to  warrant  so  forcible  an  intrusion.  A  white  building 
might  not  be  so  objectionable  in  the  city,  where  we  have  no  nature  with 
which  to  assimilate  and  work ;  but  in  the  country,  nothing  but  snow  and 
chalk  cliffs  are  white,  and  these  put  out  the  eyes  by  their  intensity. 
Choose,  then,  any  of  the  hundred  soft,  neutral  tints  which  may  afford  to 
your  house  the  cheerfulness  or  dignity  it  may  require.  These  are  to  be 
determined  chiefly  by  its  location  and  size.  A  house  of  large  and  com- 
manding proportions,  occupying  a  conspicuous  place  in  the  scenery,  would 
present  a  ludicrous  appearance  if  painted  a  light  color;  while  one  of 
smaller  size,  subordinate  to  its  natural  surroundings  and  well  shaded  by 
trees,  would,  if  painted  dark,  give  an  impression  of  gloom. 

Having  selected  the  general  tint,  the  trimmings  should  be  of  a  darker 
shade  of  the  same,  or  a  deeper  color,  to  give  them  prominence  and  assist 
in  bringing  out  the  design,  though  they  should  be  rather  in  harmony  than 
in  violent  contrast.  As  a  general  rule,  any  trimmings  forming  a  frame  to 
a  panel  should  be  darker  than  the  background  or  body  of  the  house ;  as 
also,  the  stiles  of  a  door  should  be  more  emphasized  than  the  panel. 

I  would  not  have  it  supposed  that  positive  colors  cannot  be  employed 
to  advantage  on  the  exteriors  of  country  houses.  For  example,  green  as 
the  color  for  the  blinds  not  only  has  a  cool  and  cheerful  effect,  but  seems 
to  be  that  chosen  by  Nature  in  which  to  clothe  her  natural  bowers.  Still, 
if  neutral  tints  are  used  on  the  body  of  the  house,  green  is  apt  to  appear 
in  too  violent  contrast  unless  a  line  of  some  other  harmonizing  color  be 
interposed.  If  the  general  tone  of  the  house  is  drab  or  olive,  a  line  of 
Indian  red  between  this  and  the  blinds  would  produce  a  relief.  But  in 
coloring  our  houses  it  is  certainly  well  to  follow  the  architect's  advice, 
since  an  improper  application  of  paint  might  quite  nullify  the  effect  of 
his  design,  and  render  that  ridiculous  which  was  intended  to  be  dignified  ; 
small,  that  which  was  to  appear  large ;  and  obtrusive,  that  which  was  to 
appear  modest  and  retiring. 

By  a  judicious  subordination  of  various  tints,  many  errors  and  incon- 
gruities may  be  lessened  or  quite  concealed,  and  the  good  points  of  design 
be  properly  emphasized  and  made  to  assume  a  worthy  prominence  in  the 
composition. 


THE  QUEEN  ANNE  STYLE.  27 

It  is  well  for  the  architect,  in  studying  the  colors  for  a  house,  to 
make  a  tinted  drawing  of  one  or  two  of  the  elevations,  in  order  to  give 
the  painter  an  intelligible  idea  of  what  is  required.  The  great  difficulty 
is,  however,  in  exactly  matching  these  colors,  and  the  slightest  variation 
often  destroys  the  effect.  I  have  been  much  assisted  in  this  by  using 
the  sample  card  of  some  of  our  manufacturers,  by  which  the  painter  is 
enabled  to  order  the  exact  colors,  mixed  and  ready  for  use,  by  simply 
sending  the  number  of  the  sample.  I  lay  particular  stress  on  the  archi- 
tect's directing  the  arrangement  of  the  colors,  as  so  many  buildings  are 
utterly  spoiled  by  this  important  branch  being  taken  out  of  his  hands  and 
intrusted  to  the  mercies  of  the  painter.  Many  of  them  are  color-blind ; 
and  if  they  are  unable,  from  their  own  skill,  to  match  the  sample  given 
them,  how  much  less  should  they  be  trusted  with  the  original  selection  ! 

In  the  course  of  conversation  between  a  gentleman  and  a  painter  re- 
garding the  color  of  a  house,  the  latter  remarked,  with  the  same  authori- 
tative air  in  which  a  modiste  would  lay  down  the  fashion  to  her  customer, 
"  We  don't  trim  as  much  as  we  did,  sir,"  thus  stupidly  establishing  a 
change  of  fashion,  governed  by  no  rule  or  reason,  and  tacitly  acknowl- 
edging that  if  he  were  right  at  the  present  time,  he  must  have  been 
wrong  last  season.  The  fact  is,  the  laws  of  color  are  such  that  they  can- 
not be  regulated  by  ignorant  caprice.  We  may  improve  as  the  science 
of  art  advances,  but  to  imagine  that  they  can  be  changed  by  mere  vulgar 
prejudice  is  beneath  intelligent  consideration. 

Upon  any  portion  of  the  house  receding  from  the  facade,  such  as  an 
alcoved  balcony  or  recessed  door-way,  when  deeply  sunken,  positive  colors 
would  be  in  keeping,  as  they  have  the  appearance  of  protection  from  the 
weather,  and  form  brilliant  contrasts  with  the  neutral  tints  of  the  exterior, 
with  fittings  and  decorations  of  soft  and  delicate  hues.  Thus,  in  Design 
No.  9  the  exterior  is  of  neutral  buff,  the  sides  of  the  embrasure  are 
painted  a  deep  ultramarine  green ;  the  trimmings  of  Indian  red  are  re- 
lieved by  lines  of  black,  while  the  coved  ceiling  is  of  brilliant  blue. 

Some  years  ago  it  was  quite  customary  to  paint  houses  a  sort  of  dirty 
yellow,  which  custom  arose  from  the  fact  that  Mr.  Downing,  in  giving 
some  figurative  instructions  as  to  the  color  employed,  said :  "  Pluck  from 
the  ground  the  roots  of  the  grass,  and  the  color  of  the  earth  thereon  will 
be  the  color  of  the  house."  Now,  the  gist  of  this  was  that  the  color  of  the 
house  should  be  in  harmony  with  the  landscape;  but  some  of  his  unim- 
aginative followers  failed  to  see  that  it  was  not  to  be  taken  literally,  and 
hence  arose  a  fashion  which,  we  are  glad  to  see,  has  gone  by,  of  painting 
houses  an  offensive  mud  color. 


28  MODERN  DWELLINGS. 

Painters  seem  to  have  the  idea  that  a  leader-pipe  should  be  disguised 
as  much  as  possible,  and  so  paint  it  the  same  color  as  its  background ; 
therefore,  when  it  crosses  the  cornice  it  is  dark,  and  when  arriving  at  the 
body  of  the  house,  chameleon-like,  it  assumes  the  lighter  hue. 

It  is  a  rule  in  all  good  architecture  that  whatever  is  necessary  in  the 
construction  of  a  building  should  be  accepted  in  the  decoration,  and  be 
treated  according  to  its  importance  in  the  general  design ;  thus  the  leader, 
when  viewed  in  this  light,  may  become  a  leading  feature.  For  this  rea- 
son we  place  it  conspicuously  on  the  house,  not  necessarily  following  the 
trimmings,  but  running  boldly  down  the  facade  wherever  it  is  required. 
The  top  may  be  made  ornamental ;  and  instead  of  attempting  to  conceal 
the  pipe,  the  color  should  be  such  as  to  give  it  due  prominence,  which 
need  be  neither  that  of  the  trimmings  nor  the  body,  as  its  material  and 
use  are  of  so  different  a  character  that  a  color  denoting  its  purpose  would 
be  more  appropriate.  The  tube,  then,  might  be  made  to  imitate  galvan- 
ized iron,  and  the  cap  rendered  more  prominent  by  decoration. 


ECONOMY  OF  COUNTRY  LIFE.  29 


CHAPTER  II. 

ECONOMY  OF  COUNTRY  LIFE. 
Fluctuations.  —  Blessings  of  Poverty.  —  Small  Homes. 


the  general  prosperity  of  our  country,  and 

the  rapidity  and  ease  with  which  wealth  is  acquired,  there  is  yet,  in 
the  fluctuations  of  commercial  life,  a  constant  liability  to  serious  loss,  if 
not  entire  reverse  of  fortune.  It  is  sad  to  think  that  our  firesides,  though 
far  removed  from  the  bustle  and  keen  anxieties  of  the  exchange,  are  ever 
sensitive  to  the  mismanagements  or  misfortunes  of  a  single  venture  on 
the  dangerous  sea  of  trade.  These  fluctuations  affect  all  classes  of  society, 
compelling  them  to  retrench  their  expenses  —  the  rich  by  giving  up  their 
carriage  and  reducing  the  number  of  their  servants,  and  sometimes  chang- 
ing their  luxurious  abodes  in  town  for  less  pretentious  homes  in  the  coun- 
try; while  the  "well-to-do"  must  content  themselves  with  a  "flat,"  where 
they  may  be  comfortable  with  one  servant,  or  perhaps  sufficiently  indepen- 
dent to  dispense  with  one  altogether.  A  lady,  in  speaking  of  the  blessings 
of  poverty,  remarked  to  me  that  in  her  zeal  to  assist  her  husband,  after 
misfortune  had  befallen  him,  she  had  persuaded  him  to  take  a  small  house 
out  of  town,  and  that  she  and  her  daughter  would,  as  long  as  they  had  their 
health,  do  the  work  themselves,  stipulating  only  that  the  house  should  be 
provided  with  modern  conveniences.  Although  at  the  time  she  consid- 
ered this  a  great  sacrifice,  she  found,  after  systematizing  their  work,  that 
they  experienced  more  comfort,  had  more  cleanliness,  and  more  time  for 
reading  and  other  occupations  than  when  they  kept  a  servant  ;  and  it  cer- 
tainly proved  far  more  economical  ;  for  joints  which  were  formerly  sent 
from  the  table  and  never  heard  of  again,  now  served  for  a  variety  of 
dishes  for  several  days,  and  her  husband  declared  that  his  dinners  never 
tasted  so  good,  nor  were  so  well  selected.  His  approval  more  than 
compensated  for  all  their  trouble,  and  they  were  no  longer  afraid  to 
talk  freely  of  their  affairs  on  account  of  the  girl's  eavesdropping  ;  and 
altogether  her  absence  was  an  inexpressible  relief.  Such  families,  pros- 
trated by  the  changes  of  a  day,  reared  in  the  midst  of  refinement  and 


30 


MODERN   DWELLINGS. 


luxury,  and  surrounded  by  the  golden  opportunities  of  wealth,  have,  per- 
haps, under  these  influences,  so  shaped  their  minds  and  manners  as  to 
have  become  ornaments  in  the  circles  in  which  they  moved.  They  are 
often,  of  all  others,  equal  to  an  emergency  of  this  kind.  They  find  that 
adversity  is  not  without  its  sweetness.  Knowing  that  if  they  remain  in 
town,  they  must  assume  a  position  inferior  to  their  station  or  custom, 
they  will  turn  to  the  country  as  affording  a  congenial  home.  Here,  with 
true  taste  and  sound  judgment,  they  will  build  a  cottage,  which,  though 
small  in  dimensions,  will  be  complete  in  all  its  parts.  In  such  a  home, 
with  the  qualifications  within  themselves  for  making  it  happy,  they  will 
probably  find  a  calm  content  unknown  in  the  giddy  turmoil  of  fashion, 


Design  No.  2. 

and  a  consolation  full  of  gentleness  and  peace.  Other  associations,  dear 
as  those  of  old,  will  cluster  around  them,  and  they  will  find,  as  in  the 
touching  description  of  "the  Wife"  in  Irving's  "Sketch  Book,"  that  they 
have  no  desire  to  return  to  the  noise  and  bustle,  the  whirl  and  excite- 
ment, of  a  life  in  town. 

Everything  about  such  a  house  should  be  truly  refined  and  chaste, 
with  all  the  conveniences  that  comfort  demands,  without  superfluities. 
The  interior  must  be  suggestive  of  the  refinement  of  the  occupants ;  not 
necessarily  ornamental  or  showy,  but  in  every  respect  tasteful  and  elegant. 

The  great  want  of  small  houses  at  moderate  rents,  and  in  respectable 
quarters  of  our  cities,  has  obliged  many  of  limited  means  to  seek  homes 
in  the  country.  But  now  the  custom  of  living  on  flats  has,  in  a  great 


ECONOMY  OF  COUNTRY  LIFE. 


31 


measure,  met  this  requirement,  although  these  have  their  drawbacks,  es- 
pecially where  children  are  in  the  question.  The  advantages  of  gardens 
and  spacious  lawns,  where  they  may  have  pure  air  and  room  to  exercise 
their  lungs  and  muscles  without  disturbing  the  family,  is  a  matter  which 
should  be  considered.  True,  it  may  be  argued  that  a  flat  could  be  closed 
during  the  summer,  and  the  family  visit  the  mountains  or  sea-shore,  or 
even  a  summer  cottage  may  be  taken.  But  for  the  class  where  econom- 
ical living  has  become  a  necessity,  this  double  expense  cannot  be  borne. 
Besides,  we  do  not  think  the  American  people,  as  a  general  thing,  take  to 
flats.  The  old  English  proverb  "  Every  man's  house  his  castle  "  remains 
true  of  us,  and  the  Anglo-Saxon  home  and  family  fireside  are  still  sacred. 
It  is  to  this  influence,  in  no  small  degree,  that  we  owe  our  love  of  truth 
and  virtue. 


DESIGN   No.  2. 
First-floor  Plan. 

1.  Vestibule;  2.  Parlor,  15  X  23 ;  3.  Diniug-hall,  14  X  18;  4.  Dining-room  closet;  5.  But- 
ler's pantry;  6.  Kitchen,  14  X  16;  7.  Main  stairs;  8.  Back  stairs;  9.  Kitchen  closet; 
10, 10, 10.  Verandas.— Estimated  cost,  $4500. 

This  is  a  design  for  a  small  cottage  of  moderate  cost.  It  was  intended 
for  an  alteration  of  an  ordinary  square  house,  with  a  kitchen  wing,  the 
lines  of  the  house  and  roof  re- 
maining the  same,  the  interior 
materially  changed. 

The  principal  features  added 
are  the  two  bay-windows  in  front, 
the  one  on  the  right  for  the  par- 
lor, and  that  on  the  left  accom- 
modating the  main  staircase,  each 
running  the  entire  height  of  the 
building.  The  space  between 
these  windows  is  used  as  a  hood- 
ed porch,  with  a  recessed  balcony 
above,  giving  the  whole  a  varied  and  somewhat  original  aspect.  For 
motives  of  economy,  the  main  staircase  is  placed  in  the  dining-hall,  the 
vestibule  acting  as  an  entrance  to  the  dining-hall  and  parlor,  so  that 
guests  may  be  introduced  into  the  latter  without  disturbing  the  family 
while  at  meals. 


First-floor  Plan  of  Design  No.  tt. 


32  MODERN  DWELLINGS. 

The  dining-room  has  a  large  china-closet  and  butler's  pantry,  with 
recess  for  sideboard.  The  kitchen  contains  a  back  staircase  and  two  clos- 
ets. The  room  over  the  kitchen  is  intended  for  servants,  and  is  ap- 
proached directly  by  the  back  stairs.  The  second  story  has  three  large 
bedrooms  and  bath ;  there  is  space  for  two  rooms  in  the  attic. 


SITE.  33 


CHAPTER  III. 

SITE. 

Cesspool  remote  from  the  House. — Earth  Closets. — Ventilating  Sewers. — Grading  Cellar 
Floors. — Areas. — Foundations  on  Made  Ground. — Terraces. — Side  Hills. — Hydraulic 
Rams. — Cistern  Filters. — Force-pump. — Windmills. 

THE  first  thing  to  be  considered  in  building  a  house  should  be  the 
judicious  selection  of  a  site ;  and  here  good  drainage  is  not  only  nec- 
essary for  the  health,  but  adds  materially  to  the  fertility  of  the  soil.  La- 
tham says,  "  It  is  absolutely  necessary,  in  order  to  render  the  soil  capable 
of  performing  its  functions  of  oxidizing  or  neutralizing  the  elements  of 
decomposition  which  are  brought  into  contact  with  it,  that  works  of  sub- 
drainage  should  be  prosecuted.  It  is  now  well  known  that  the  admission 
of  air  into  the  soil  enables  that  soil  to  exert  a  most  powerful  chemical 
influence  upon  all  organic  compounds,  so  great,  indeed,  as  to  be  capable 
of  purifying  the  crudest  sewage.  The  effect  of  drainage  upon  the  soil  is 
to  promote  porosity,  and  the  effect  of  porosity  is  to  make  the  soil  drier, 
warmer,  and  less  capable  of  conveying  extremes  of  temperature.  It  is 
also  well  known  that  a  soil  perfectly  saturated  with  water,  which  can  only 
part  with  its  water  by  evaporation,  is  rendered  cold  and  unwholesome 
as  a  site  for  human  dwellings ;  for  all  the  impurities  that  enter  the  soil 
accumulate.  Soils  which  are  naturally  porous,  from  which  rain  rapidly 
disappears,  are  known  to  be  the  healthiest  for  the  sites  of  houses.  In 
this  case  the  action  of  the  soil  oxidizes  all  organic  impurities,  the  result- 
ing product  is  washed  away  by  the  rain,  and  the  soil  remains  sweet  and 
wholesome.  The  advantages  of  site  appear  to  have  been  known  from  the 
earliest  ages  of  antiquity.  Vetruvius  in  his  works  lays  down  special  in- 
structions for  selecting  the  sites  for  towns  and  hospitals ;  namely,  regard- 
ing the  quality  of  porosity  and  the  perfection  of  drainage,  the  absence 
of  a  water-logged  soil  being  looked  upon  as  the  best  situation  for  the  loca- 
tion of  buildings." 

In  order  to  effect  good  drainage,  high  land  is  generally  considered 
necessary;  but  much  depends  on  its  geological  formation.  There  are 
often  rock  or  clay  basins  not  appearing  upon  the  surface,  which  offer 

3 


34  MODERN  DWELLINGS. 

a  barrier  to  the  lateral  flow  of  water,  and  the  moisture  thus  prevented 
from  escaping  is  retained  in  a  stagnant  pool.  That  low  level  ground 
is  objectionable  for  drainage  is  apparent ;  yet  this  seems  a  favorite  spot 
for  building,  and  people  wonder  why  the  country  is  so  unhealthy.  In 
order,  therefore,  to  find  a  safe  location,  good  drainage  must  be  secured. 
The  centre  of  a  knoll  from  which  the  water  may  run  in  every  direction 
from  the  house,  if  possible  to  obtain,  would  be  preferable.  But  if  this 
cannot  be,  a  side  hill  affords  good  drainage  —  one  way,  at  least.  The 
surface  on  the  higher  ground  can  be  so  graded  as  to  turn  the  water 
aside  and  prevent  its  direct  entrance  into  the  cellar,  although  in  wet 
weather,  when  the  ground  is  saturated,  it  is  apt  to  find  its  way  there. 
This  may  be  avoided  by  sinking  drains  below  the  foundation  around 
the  exposed  sides  of  the  house,  made  from  two  to  three  feet  wide,  and 
filled  in  with  broken  stone,  into  which  the  water  coming  from  the  higher 
ground  may  collect  before  reaching  the  cellar,  and  may  be  carried  off,  not 
to  lower  ground — where  it  would  settle,  and  generate  malarious  gases — 
but  connect,  if  possible,  with  the  main  sewer,  and  through  that  be  con- 
veyed to  some  outlet. 

Of  course,  when  the  ground  drainage  empties  into  a  small  stream,  a 
separate  drain  should  be  arranged  for  the  sewage,  which  should  terminate 
in  a  cesspool  or  vault  underground,  to  avoid  poisoning  the  water.  And 
here  it  would  be  well  to  mention  that  one  of  the  most  important  things  in 
regard  to  drainage  is,  that  when  a  leaching  cesspool  is  used,  to  have  it 
remote  from  the  well ;  and  when  I  say  remote,  fifty  or  seventy-five  feet 
are  not  sufficient.  A  distinguished  physician,  speaking  on  this  subject, 
stated  that  he  had  often  heard  of  wells  being'  affected  by  a  cesspool  a 
hundred  feet  distant,  and  would  advise  that  they  should  never  be  less  than 
a  hundred  and  fifty  feet  apart,  as  the  fluids  percolating  from  the  vault  are 
sure  to  infect  the  water,  making  it  not  only  disagreeable  to  the  taste,  but 
very  liable  to  the  poison  to  which  the  most  dreaded  diseases  may  be  traced. 
It  is,  therefore,  not  alone  essential  that  they  themselves  should  be  kept 
well  apart,  but  that  even  the  drains  connected  with  the  cesspool  should  be 
at  a  distance,  as  more  or  less  of  their  noxious  contents  are  apt  to  escape 
from  their  joints.  It  might  be  supposed  that  a  cistern  cemented  and 
made  water  tight  would  not  be  exposed  to  this  danger,  but  I  have  often 
known  of  the  seeds  of  disease  being  carried  into  it.  The  impurity  of 
rain-water  in  cisterns  is  a  phenomenon  which  has  often  puzzled  the  minds 
of  our  sages,  who  never  seem  to  consider  the  fact  that  two  leaders  in  close 
proximity  may  absorb  each  other's  contents. 

Ordinary  tile-pipe,  from  four  to  six  inches,  laid  three  or  four  feet  be- 


SITE.  35 

neath  the  surface,  so  as  to  be  below  the  action  of  the  frost,  answers  the 
purpose  best.  It  is  a  mistaken  idea  that  large  pipes  are  less  liable  to  foul 
than  small  ones;  for, from  the  fact  of  the  latter  presenting  less  surface,  the 
friction  is  diminished,  and  the  flow  of  water  is  more  rapid,  whereas  pipes 
of  larger  diameter  are  apt  to  clog  in  consequence  of  the  more  slugirMi 
movement  of  the  fluids.  In  case  of  main  sewers  or  trunk  drains,  where 
the  capacity  must  be  large  in  order  to  carry  off  the  extra  flow  from  the 
freshets,  it  is  well  to  make  them  smaller  at  the  bottom,  something  of  the 
shape  of  an  egg,  which  will  concentrate  the  water  and  cause  it  to  flow 
rapidly  in  dry  times,  when  the  supply  is  naturally  less. 

In  surface  drainage,  it  is  a  mistake  to  cement  the  joints  of  these  pipes, 
as  we  depend  upon  their  openings  to  admit  the  water.  So,  in  soil-pipes, 
the  cement  often  forms  an  obstruction  to  the  solid  matter,  which,  collect- 
ing, eventually  chokes  the  pipes.  These,  however,  not  being  used  for  sur- 
face drainage,  should  have  their  joints  cemented  in  order  to  avoid  poison- 
ing the  ground ;  but  before  the  cement  is  set,  it  is  well  to  clear  out  these 
ridges,  so  that  they  may  be  free  from  obstruction. 

In  the  country,  if  there  be  no  outfall,  and  the  sewage  must  conse- 
quently be  confined  to  one's  own  estate,  the  simple  system  afforded  by 
the  use  of  -earth  closets  for  the  management  of  solid  matter  is  to  be  pre- 
ferred. The  fluids  may  then  be  carried  to  a  water-tight  tank  or  vault  un- 
derneath the  ground,  as  far  distant  from  the  house  as  possible,  and  may 
serve  for  irrigation. 

The  necessity  for  ventilating  cesspools  and  sewers  is  of  the  utmost 
importance,  as  the  gases  from  them  are  liable  to  create  a  back  pressure 
and  find  their  way  into  the  house.  The  readiest  way  of  preventing  this 
seems  to  be  by  connecting  a  pipe  with  a  ventilating  flue  arranged  in  the 
stable  chimney,  the  top  of  which  is  provided  with  a  cowl  in  order  to 
prevent  a  downward  draught.  This,  when  of  sufficient  height,  seems  to 
obviate  the  difficulty  by  discharging  the  poisonous  gases  beyond  the  reach 
of  harm,  provided  always  that  there  be  an  inlet  to  supply  the  vacuum. 
If,  however,  a  vent  of  this  kind  be  impracticable,  a  galvanized  iron  pipe 
may  be  carried  to  the  top  of  a  high  tree;  and  I  have  known  instances 
where  a  ventilation  pipe  was  returned  and  discharged  into  the  smoke  flue 
of  the  kitchen  chimney,  which,  being  always  heated,  insures  a  thorough 
draught,  which  causes  the  gases  to  escape  at  a  safe  elevation.  The  old 
idea  that  sewer  gases  may  be  kept  from  the  house  by  means  of  traps 
seems  to  have  generally  exploded,  as  it  is  well  understood  that  as  these 
gases  generate  they  are  apt  to  force  their  way  into  the  house  through 
the  traps.  Of  course,  a  sewer  thoroughly  ventilated  will,  in  a  measure, 


36  MODERN  DWELLINGS. 

prevent  this;  but  even  then,  in  certain  winds,  a  back  pressure  is  pro- 
duced, so  that  the  only  safe  method  is  to  ventilate  all  traps  and  soil-pipes 
as  well,  by  extending  them  above  the  roof,  and  capping  them  in  such  a 
manner  as  to  prevent  a  downward  current. 

The  danger  of  these  foul  emanations,  carrying  the  germs  of  typhoid 
and  diphtheria,  cannot  be  too  forcibly  impressed  upon  the  public ;  and 
since  of  late  numerous  cases  of  disease  directly  traceable  to  this  miasma 
have  been  prominently  brought  to  notice,  it  is  time  that  some  active  meas- 
ures should  be  taken  to  prevent  their  entrance. 

A  physician  told  me  that  he  had  never  known  a  case  of  diphtheria 
which  was  not  produced  by  these  causes ;  even  those  in  the  country,  he 
says,  are  directly  traceable  to  the  influence  of  some  foul  vault,  which  is 
sufficiently  near  the  well  to  poison  the  water,  or  so  near  the  house  as  to 
allow  the  gases  admittance. 

There  are,  however,  cases  in  which  it  seems  impossible  to  ventilate, 
when  fumigation  or  disinfectants  may  answer  the  purpose.  Common  salt, 
and  nitric  acid,  and  chloride  of  lime  have  been  recommended,  and  are  fre- 
quently used,  as  absorbents  of  noxious  gases ;  but  nothing  has  proved  so 
efficacious  as  charcoal,  which,  placed  in  an  apartment  where  sewer  gases 
or  other  foul  odors  arise,  will  absorb  and  effectually  destroy  their  mala- 
rial qualities.  Professor  Voelcker  says  of  charcoal :  "  It  possesses  the 
power  of  absorbing  certain  smelling-gases,  also  destroying  the  gases  thus 
absorbed.  The  evil  effects  of  sewer  gas  upon  public  health  were  known 
in  the  ages  of  antiquity,  for  it  appears  from  '  Justinian's  Digest,'  which 
was  completed  in  the  year  555,  that,  quoting  Ulpian,  '  The  praetor  took 
care  that  all  sewers  should  be  cleansed  and  repaired  for  the  health  of  the 
citizen,  because  unclean  or  unrepaired  sewers  threaten  a  pestilential  at- 
mosphere, and  are  dangerous.'  The  Romans,  too,  displayed  a  clear  knowl- 
edge of  the  necessity  of  underground  conduits,  as  may  be  seen  in  the  pro- 
visions for  the  construction  of  their  aqueducts  whenever  they  passed  be- 
low the  level  of  the  ground." 

Leaching  cesspools,  as  a  general  thing,  should  be  avoided,  as  their 
poisonous  contents,  being  absorbed  by  the  earth,  in  time  not  only  emit 
malaria  into  the  atmosphere,  but  are  liable  to  infect  our  own  and  our 
neighbors'  wells.  This  danger  may,  in  a  measure,  be  obviated  by  vege- 
tation. Sometimes  the  roots  of  trees,  when  located  near,  are  attracted 
to  their  vicinity  and  absorb  a  large  amount  of  their  contents.  I  know  of 
a  case  in  which  a  cesspool  has  been  in  constant  use  for  twenty  years  with- 
out requiring  to  be  cleansed,  which  I  am  convinced  is  attributable  to  a 
large  willow-tree  that  grows  beside  it,  and  has  sent  into  it  such  a  mass 


SITE.  37 

of  fibrous  roots  that  the  contents  have  been  absorbed  as  fast  as  they 
accumulated. 

A  cesspool  or  vault  made  water-tight,  which  can  be  cleansed  at  pleas- 
ure, is  less  objectionable.  If  possible,  this  should  be  situated  near  the 
garden,  where,  with  the  aid  of  a  force-pump  and  hose,  the  contents  may 
be  conducted  to  any  point  where  its  fertilizing  qualities  are  required. 
Colonel  Waring,  one  of  our  leading  sanitary  engineers,  in  the  American 
Agriculturist  of  October,  1877,  describes  a  flush  tank  invented  by  Mr. 
Rogers  Field,  which,  at  slight  expense,  may  be  placed  just  outside  of  the 
walls,  and  receive  the  waste  of  the  house ;  this,  when  filled,  is  automati- 
cally emptied  on  the  principle  of  a  siphon,  its  contents  being  discharged 
into  open  drains,  placed  in  the  ground  ten  or  twelve  inches  deep.  The 
matter  is  then  absorbed  by  the  earth,  and,  being  near  the  surface,  is  again 
taken  up  by  vegetation.  Colonel  Waring  states  that  he  has  used  this  for 
some  years  on  his  own  place  at  Newport  with  eminent  success.  "  These 
flush-tanks,  made  of  iron,  and  with  all  their  appliances  complete,  are  now 
for  sale  by  the  agent  of  the  patentee.  They  cost  thirty-five  dollars." 

Basement  floors  should  be  so  underdrained  as  to  prevent  the  possibil- 
ity of  water  entering  the  cellar ;  and  where  this  is  not  practicable,  the 
cementing  of  the  floors  and  walls  should  be  resorted  to.  It  is  always 
well,  however,  to  give  the  floors  sufficient  slant,  so  that  in  case  any  damp- 
ness should  enter,  the  water  may  flow  to  one  point,  from  which  there 
should  be  a  drain ;  and  the  fact  that  there  is  not  sufficient  descent  from 
the  house  to  accomplish  this,  is  an  obvious  reason  why  such  a  location 
should  be  avoided. 

Areas  also  require  draining ;  but  when  natural  drainage  is  impractica- 
ble, by  filling  a  few  feet  below  their  surface  with  broken  stone  or  coarse 
gravel,  the  water  collecting  here  will  filter  through. 

Wash-trays  or  water-closets  should  never  be  placed  in  the  basement, 
unless  there  be  a  decided  slope  from  the  house  to  the  cesspool ;  for  the 
fact  that  a  sewer  must  start  from  a  point  below  the  basement  floor,  not 
only  necessitates  going  to  a  great  depth  with  the  drains,  but  enters  the 
cesspool  at  so  low  a  level  as  to  render  the  latter  comparatively  useless, 
for  it  is  evident  that  the  moment  the  fluids — which  must  enter  near  the 
bottom — rise  above  the  mouth  of  the  drain,  they  are  liable  to  back  up 
into  the  pipe. 

Great  caution  should  be  used  in  the  laying  of  soil-pipes ;  as,  in  the 
event  of  settlement,  their  joints  are  liable  to  open,  causing  the  escape  of 
gases.  It  is  well,  therefore,  that  those  within  the  house  should  be  en- 
tirely of  iron,  and  their  joints  calked  with  lead.  Outside  soil-pipes 


38 


MODERN  DWELLINGS. 


should  always  be  laid  on  solid  bottom,  as,  when  placed  on  made  ground, 
they  are  liable  to  settle. 

The  matter  of  grading  is  of  much  importance,  and  great  economy  can 
be  practised  by  placing  the  earth  from  the  excavations  exactly  where  we 
shall  want  to  use  it.  A  gentleman  who  had  had  but  little  experience  in 
this  matter,  in  superintending  his  own  work  went  to  much  expense  in 
having  the  earth  removed;  and  when  he  came  to  grade,  he  discovered 
that  he  needed  it  all,  and  was  put  to  the  additional  expense  of  bringing 
it  back. 

One  thing  should  always  be  observed — that  foundations  should  never 
rest  upon  made  ground,  as  this  takes  years  to  settle,  and,  in  fact,  may 

never  be  considered  as 
firm  as  the  original  stra- 
ta. On  side  hills  we  are 
often  obliged  to  exca- 
vate considerably  into 
the  bank,  bringing  the 
earth  forward  in  order 
to  make  a  level  plateau 
on  which  to  place  the 
house,  one  half  resting 
on  the  main  bank  and 
the  other  on  the  new 
ground.  Here  the  temptation  is  great  to  rest  the  walls  on  the  new  grade ; 
and  if  builders  are  not  closely  watched,  they  are  very  apt  to  transgress  in 
this  particular.  Another  serious  difficulty  in  grades  of  this  description 
is,  that  the  new  earth,  resting  upon  the  bank,  which  is  necessarily  on  an 
incline,  is  apt  to  shift,  when,  if  our  rule  is  not  strictly  observed,  the  shift- 
ing bank  is  liable  to  carry  the  foundation  with  it. 

There  is  often  serious  trouble  with  our  roads  and  the  general  lay-out 
of  the  grounds  by  terraces  shifting  in  this  manner,  to  avoid  which,  the 
original  bank  should  be  stepped,  inclining  somewhat  inward,  which  will 
effectually  prevent  accidents  of  this  kind. 

Walls  to  protect  terraces  are  often  insufficient,  unless  they  be  built  on 
the  principle  of  "retaining  walls,"  battering  on  each  side;  or  if  for  good 
reasons  it  is  thought  necessary  to  build  the  outside  vertical,  the  inside 
should  have  an  additional  batter,  or  incline.  Indeed,  this  rule  should 
apply  to  all  bank  walls,  as  the  frost  exerts  sufficient  pressure  to  throw 
them  out  of  line,  unless  this  method  be  adopted. 

Area  wTalls  especially  should  be  built  as  retaining  walls,  as,  being  ex- 


Design  No.  3. 


SITE.  30 

posed  to  the  cold,  the  frost  is  liable  to  penetrate  their  entire  deptli ;  espe- 
cially as  builders  are  in  the  habit  of  carrying  these  down  but  a  few  inches 
below  the  cellar  bottom,  regarding  them  in  the  same  light  as  the  foun- 
dations of  the  house.  These,  being  protected  on  the  inside,  prevent  the 
frost  from  striking  down,  which  renders  a  few  inches  below  the  cellar 
bottom  sufficient ;  but  the  condition  of  an  area  wall  is  different.  The  in- 
side not  being  protected,  the  frost  may  extend  its  usual  deptli  below  the 
area  floor,  which  makes  it  important  that  these  foundations  should  extend 
two  or  three  feet  lower ;  and  the  same  rule  holds  good  with  area  steps. 

Side  hills,  in  addition  to  the  facilities  already  offered  for  draining,  pos- 
sess other  advantages  for  building ;  for  when  the  slope  is  sufficient,  one 
side  of  the  cellar  can  be  above  ground,  serving  as  an  outlet  in  case  of  over- 
flow, and  by  this  means  cheerful  kitchens,  located  above  the  surface,  may 
be  obtained.  If  these  rooms,  however,  are  to  be  occupied,  it  is  always 
well  to  have  a  subcellar ;  not  only  on  account  of  the  dryness,  but  because 
this  is  the  proper  place  for  the  heater,  giving  the  benefit  of  registers  in  the 
basement,  besides  keeping  the  ashes  and  coal-dust  out  of  the  way. 

In  regard  to  water  supplies,  the  best  system  is  to  bring  the  water  in 
from  some  higher  level,  by  which  an  impetus  to  carry  it  throughout  the 
house  may  be  obtained.  Unless,  however,  there  is  a  regularly  constructed 
reservoir,  it  is  difficult  to  find  it  in  sufficient  volume  without  collecting  it 
in  a  tank  in  a  situation  above  the  living-rooms.  The  attic  is  generally 
the  best  place  for  this,  as  in  a  tank  arranged  outside  the  house  the  water 
is  apt  to  freeze.  A  reservoir,  however,  might  be  constructed  on  higher 
ground,  from  which  the  water  could  be  carried  through  pipes  laid  below 
the  frost,  and  this,  I  think,  would  be  a  desirable  method. 

There  are  situations  where  even  wells  are  not  to  be  had  without  great 
expense,  in  which  case  the  ordinary  cistern  will  prove  an  excellent  sub- 
stitute. In  a  house  erected  for  my  own  use,  where  water  was  difficult 
to  obtain,  I  built  a  cistern  twelve  feet  square,  in  which  I  constructed  a 
filter,  which  consisted  of  a  simple  four-inch  brick  wall  built  across  one 
corner,  through  which  the  water  percolated,  and  by  a  force-pump,  was 
brought  into  the  house  as  pure  and  clear  as  from  a  spring.  In  fact,  it 
was  difficult  to  discern  any  difference  in  the  taste.  The  cistern,  which 
was  fed  from  the  roof,  never  gave  out.  I  even  supplied  my  neighbors 
with  water  during  a  very  severe  drought;  and  in  rainy  seasons,  had  there 
not  been  an  overflow  from  the  top,  I  might  have  experienced  serious 
inconvenience.  These  overflows  are  better  discharged  upon  lower  ground 
than  into  a  sewer  or  cesspool,  for  in  the  latter  case  the  gases  are  liable 
to  enter  the  cistern ;  for,  however  well  protected  with  traps,  which  are, 


40  MODERN  DWELLINGS. 

at  best,  of  but  little  use,  they  are  much  of  the  time  dry.  When  the  lower 
end  of  this  drain  is  exposed,  it  is  well  to  protect  it  from  the  entrance  of 
reptiles  and  insects  by  a  wire  gauze.  This  also  serves  the  purpose  of 
admitting  fresh  air,  while  the  foul  exhalations  find  an  escape  through  the 
leader-pipes  from  the  roof. 

When  springs  on  a  sufficient  elevation  are  not  at  hand,  the  hydraulic 
ram  placed  in  a  running  brook  will  answer  the  purpose.  The  ordinary 
method  of  raising  water  into  a  tank  by  means  of  a  force-pump  is  perhaps 
the  simplest;  yet  there  are  various  mechanical  contrivances  for  saving 
the  manual  labor  involved  by  that  system.  A  small  Ericsson  engine, 
placed  in  the  cellar  at  a  trifling  cost,  is  an  excellent  arrangement ;  and 
its  cheapness  and  economy  in  fuel  especially  recommend  it.  There  is 
also  a  small  steam-engine  manufactured  by  Baker  &  Smith,  which  is  put 
up  in  connection  with  their  furnace,  and,  being  supplied  with  steam  from 
the  same  boiler,  is  worked  without  extra  expense.  The  cost  of  each  of 
these  does  not  exceed  two  or  three  hundred  dollars. 

The  favorite  system  of  raising  water  by  windmills,  although  very 
effective  in  its  results,  I  think,  in  an  aesthetic  point  of  view,  should  be 
condemned,  for  they  are  sure  to  obtrude  themselves  most  offensively 
upon  the  sight ;  and  to  see  these  awkward,  spider-like  structures  dancing 
fandangoes  before  our  eyes  disturbs  the  repose,  and  mars  the  landscape 
of  our  otherwise  beautiful  homes.  If  these  could  be  constructed  in  a 
picturesque  manner,  in  imitation  of  some  of  the  old  Holland  windmills, 
they  might  become  a  pleasing  object  in  the  landscape.  I  have  seen  an 
arrangement  propelled  by  wind,  and  enclosed  in  an  ornamental  cupola, 
placed  on  top  of  a  dwelling-house,  or  an  out-building,  which,  while  add- 
ing a  pleasing  feature  to  the  architecture,  kept  up  an  adequate  supply  of 
water  with  scarcely  an  hour's  work  a  day.  These  spiders,  however,  have 
an  advantage  mechanically,  as,  by  presenting  a  greater  surface  to  the 
wind,  their  capacity  is  increased,  which,  where  great  power  is  a  consider- 
ation, as  in  the  manufactory,  is  an  argument  in  their  favor. 


DESIGN    No.  3. 

First-floor  Plan. 

1.  Living  hall,  18X18;  2.  Parlor,  14^X21;  3.  Dining-room,  14X18;  4.  Kitchen,  14^X16; 
5.  Back  hall ;  6.  Store-room. — Estimated  cost,  $6000. 

This  cottage  has  recently  been  erected  at  Montclair,  New  Jersey,  for 
Mrs.  A.  C.  Connelly,  and,  with  some  slight  changes,  at  West  Brighton, 


SITE. 


41 


Staten  Island,  for  Mr.  C.  Dubois,  Jim.  Its  principal  feature  is  the  square 
entrance -hall,  with  its  irregular  staircase,  landing  on  a  raised  platform 
which  constitutes  a  bay  -  window.  This  bay,  which  is  conspicuous  from 
the  entrance,  is  nearly  filled  with  stained  glass,  and  is  made  large  enough 
for  the  accommodation  of  plants  (the  lower  part  of  the  sash  being  clear 
glass,  in  order  to  admit  the  sun),  and  running  up  sufficiently  high 
to  light  both  stories.  The  vignette 
shows  a  similar  hall  recently  con- 
structed at  Staten  Island,  the  plan 
of  which  is  reversed  from  the  pres- 
ent design. 

The  dining-room  and  parlor  com- 
municate with  the  hall  by  double 
doors.  The  latter  has  the  upper  part 
of  the  bay-window,  which  is  opposite 
the  doors,  filled  with  stained  glass. 
The  butler's  sink,  in  this  case,  is 
placed  in  the  back  hall,  which,  as  a 
matter  of  economy,  has  its  advan- 
tages ;  though,  as  a  general  thing, 
we  would  advise  having  the  butler's  pantry  separate.  There  are  four 
large  bedrooms  and  bath-room  in  the  second  story,  also  two  bedrooms 
and  billiard-room  in  the  attic.  The  tank,  which  is  large,  is  sunk  below 
the  attic  floor,  in  order  to  admit  the  water  directly  from  the  roof,  and, 
being  floored  over  and  well  lighted,  affords  space  for  a  trunk  and  store 
room. 


First-floor  Plan  of  Design  No.  3. 


MODERN  DWELLINGS. 


CHAPTER  IY. 

PLANS. 

Views. — Exposure. — Estimates. — Architect's  Supervision. — Commercial  Value  attached 

to  a  Well-arranged  Plan. 

THE  next  step,  after  the  site  is  selected,  is  to  provide  proper  plans  or 
working  drawings.  There  is  no  doubt  that  every  one  who  intends 
building  has  some  general  idea  of  what  he  wants,  and  frequently  sketches 
out  an  arrangement  of  the  various  floors  which  he  fancies  is  just  the 
thing.  There  can  be  no  particular  harm  in  his  doing  this ;  on  the  con- 
trary, it  frequently  enables  the  architect  to  judge  somewhat  of  the  num- 
ber and  size  of  the  rooms  needed,  and  the  general  requirements  of  his 

client.  Still,  there  is  this  dan- 
ger; he  is  too  apt  to  be  wed- 
ded to  his  own  ideas,  thus  tram- 
melling the  professional  man  in 
producing  the  best  arrangement 
and  effects.  These  amateur  de- 
signs should  be  taken  as  sug- 
gestions simply,  nothing  more. 

It  is  the  duty  of  the  archi- 
tect, studying  the  desires  and 
needs  of  his  client,  carefully  to 
manage  the  design  in  all  its 
parts,  so  as  to  n't  into,  and  har- 
monize with,  the  lives  to  be 
spent  under  its  roof.  He  will 
first  arrange  the  rooms  in  re- 
gard to  exposure.  For  example,  the  parlor  or  living-room — that  most 
occupied  by  the  family — he  would  place  toward  the  south,  being  the 
most  cheerful,  which,  while  being  sheltered  from  the  bleak  winds  of  win- 
ter, receives,  also,  the  prevailing  summer  breezes. 

Should  the  gentleman  be  a  reading  man,  it  would  be  well  to  place 


Hall  and  Staircase  of  Design  No.  3. 


PLANS.  43 

the  -library  at  the  north,  in  order  to  acquire  a  steady  light.  The  dining- 
room  may  properly  be  situated  at  the  western  side,  giving  a  view  of  the 
sunset  at  the  evening  meal.  North  of  this  should  be  the  kitchen,  occupy- 
ing the  least-desirable  exposure.  If  the  verandas  are  limited,  the  most  val- 
uable position  would  be  on  the  east  side  of  the  house,  on  account  of  the 
shade  the  greater  portion  of  the  day.  For  the  contrary  reason,  the  con- 
servatory should  have  a  southerly  exposure.  The  plumbing  should  also 
be  located  at  a  warm  side,  to  prevent  its  freezing.  And  this  is  not  all 
that  is  to  be  taken  into  consideration  in  a  well-studied  plan.  It  is  es- 
sential that  the  rooms  most  frequented  should  command  tine  views,  and 
their  arrangement  should  be  such  as  to  form  a  pleasing  exterior  as  well, 
the  important  parts  to  present  the  most  imposing  appearance.  Again,  a 
constructional  motive  should  be  considered.  The  arrangement  of  sup- 
ports, the  disposition  of  doors  and  windows,  the  intersection  of  roofs,  and 
the  general  outlines  of  the  building — all  have  a  bearing  upon  the  arrange- 
ment of  the  rooms,  which  should  suggest  themselves  to  the  architect  in 
the  first  conception  of  his  plan.  After  these  preliminaries,  he  should  sub- 
mit the  sketch  to  his  client,  wrhich  may  not  prove  altogether  satisfactory. 
It  is  either  unsuited  to  some  of  his  domestic  requirements,  or  not  in  ac- 
cordance with  his  original  intentions.  Should  these  prove  solid  objec- 
tions, it  would  be  the  architect's  duty  to  alter  his  sketch,  and,  while  trans- 
gressing no  general  rules,  conform  more  with  his  client's  notions.  This 
settled,  he  next  proceeds  with  his  working  drawings,  which  consist  of 
the  floor  plans  for  each  story,  and  the  four  exterior  sides  or  elevations. 
These,  in  connection  with  the  specifications,  are  sufficient  for  obtaining 
estimates  from  the  various  contractors.  It  is  often  considered  by  the  un- 
initiated that  mere  sketches  or  preliminary  studies  are  sufficient  to  obtain 
correct  estimates  of  the  cost.  But  this  is  a  most  dangerous  plan  to  work 
upon,  as  it  is  almost  certain  to  mislead ;  for  no  builder  can  have  a  clear  con- 
ception of  what  the  building  really  is  to  be,  until  regular  plans  and  specifi- 
cations are  matured.  These  estimates  being  received  from  reliable  parties, 
the  owner  may  then  go  on  with  a  certainty  of  what  the  building  will  cost. 
ISTo  work  of  any  importance  should  be  carried  on  without  the  general 
supervision  of  the  architect,  for  rarely  is  there  a  plan  so  perfect  that 
improvements  cannot  be  made,  and  they  are  likely  to  suggest  themselves 
as  the  building  develops.  But  the  most  dangerous  thing  an  owner  can 
do  is  to  allow  alterations  to  be  made  without  consulting  the  original  de- 
signer, who  has  fully  studied  the  plan  in  all  its  bearings,  and  one  slight 
change  may  affect  the  composition  in  twenty  different  ways,  both  of  a 
constructive  and  aesthetic  nature.  The  architect  is  always  willing ,  to 


44  MODERN  DWELLINGS. 

make  changes  when  the  owner  desires  them,  and  he  alone  is  able  to  make 
them  in  conformity  with  the  other  parts  of  the  plan. 

I  can  cite,  as  an  exemplification  of  this,  an  instance  of  an  expensive 
dwelling,  for  which  an  architect  had  prepared  the  plans,  on  the  line  of 
one  of  our  metropolitan  railways.  The  design  was  prepared  with  espe- 
cial reference  to  the  rules  to  which  we  have  alluded,  and  he  had  laid  out 
the  house  on  the  ground  accordingly,  ready  for  the  building  to  proceed. 
Upon  visiting  the  place  a  few  weeks  after,  he  found,  to  his  dismay,  that, 
for  some  trivial  reason,  suggested  by  the  mason,  it  had  been  turned  and 
made  to  face  in  a  different  direction.  Immediately  all  the  advantages 
of  exposure,  view,  and  the  general  appearance  of  the  building — so  much 
studied,  and  from  which  he  had  expected  such  good  results  —  were  en- 
tirely lost.  One  point  on  which  he  had  depended  making  a  favorable 
impression  was  that  from  the  railway,  from  which  hundreds  of  passen- 
gers daily  commanded  a  view  of  the  building.  Another  was  from  the 
highway  leading  from  the  village.  The  side  of  the  house  least  consid- 
ered was  the  north,  from  whence  it  was  little  seen,  and  had  no  partic- 
ular view,  where  he  had  located  the  kitchen.  Imagine  his  chagrin,  then, 
at  finding  the  picturesque  grouping  turned  entirely  away  from  the  points 
upon  which  he  had  calculated,  and  in  their  place  those  parts  he  had  most 
endeavored  to  conceal.  The  kitchen  seemed  to  have  been  the  object  of 
especial  pride  to  the  owner,  as  it  was  this  he  had  placed  fronting  the  rail- 
way, and  it  now  occupies  the  agreeable  exposure  designed  for  the  living- 
rooms.  There  shortly  after  offered  just  the  opportunity  for  rectifying 
the  blunder,  as,  wishing  to  enlarge  this  department,  he  could  build  a  taste- 
ful addition,  relieving  its  gaunt  and  meagre  appearance.  But  instead  of 
consulting  his  architect,  he  was  again  guided  by  his  builder,  who  assured 
him  that  the  way  to  accomplish  his  design  was  to  lengthen  the  kitchen 
portion  some  ten  or  twelve  feet.  Then  the  error  assumed  a  magnitude 
truly  sublime,  for  the  blemish  was  intensified  at  least  tenfold,  as  it  over- 
powered and  destroyed  all  the  proportions  of  the  house. 

This  is  the  solution  of  the  question  I  have  so  often  heard  asked,  as 

we  ride  by  in  the  cars,  why  Mr.  B 's  house  so  much  resembles  a 

prison  or  a  lunatic  asylum  ;  and,  I  might  add,  had  not  his  obstinacy  stood 
in  the  way  of  his  interests,  the  building  might,  in  case  of  trouble,  have 
brought  him  a  fair  profit,  instead  of  a  loss  of  fifty  per  cent,  on  the  orig- 
inal investment,  and  the  architect's  reputation  might  not  have  suffered, 
as  it  invariably  does  when  these  charlatans  thus  distort  his  plans,  and 
the  damage  he  sustains  overbalances  by  far  any  pecuniary  advantages  he 
may  derive. 


PLANS. 


45 


There  are  times,  however,  when  buildings  are  so  remote  that  it  is 
impossible  for  the  architect  to  visit  them,  or,  if  at  all,  perhaps  not  more 
than  once  or  twice  during  their  construction.  In  such  cases,  by  retaining 
copies  of  all  the  drawings  and  specifications,  with  a  practical  superintend- 
ent upon  the  grounds,  the  architect  may  be  consulted  almost  as  well  as  if 
he  were  making  constant  visits  to  the  works.  I  have  at  this  time  build- 
ings in  Canada,  Tennessee,  and  Texas,  which  I  am  superintending  in  this 
manner,  the  results  of  which  are  entirely  satisfactory. 


Design  No.  4. 

There  is  a  commercial  value  to  be  attached  to  a  well-arranged  plan 
and  carefully  studied  grouping  of  the  exterior  of  a  house;  for  it  is  evident 
that  a  dwelling  built  on  these  principles  requires  no  more  material  or 
labor,  but  is  simply  a  scientific  rendering  to  produce  harmonious  and  con- 
venient results ;  and  the  difference  between  a  house  of  this  kind  and  one 
of  ordinary  construction,  when  placed  in  the  market,  is  invariably  appar- 
ent. I  remember  a  neighborhood  in  New  Jersey  which  had  been  built 
before  the  present  decline  in  prices,  but,  owing  to  the  results  arising  from 
the  panic,  many  of  the  houses  were  offered  for  sale  for  which  not  more 
than  half  their  cost  was  realized.  Now,  had  they  been  constructed  with  a 
greater  regard  to  these  principles,  it  is  certain  that  this  sacrifice  would  not 
have  occurred ;  for  there  was  one  instance  of  a  gentleman  who  had  built  a 
house  no  more  expensively  than  the  others,  but  in  which  the  arrangement 
and  proportion  had  been  better  studied,  and  the  price  realized  at  its  sale 
was  sufficient  to  pay  a  fair  profit. 

Frequently  persons  bring  their  own  plan  of  arrangement,  which  mate- 


MODERN  DWELLINGS. 


rially  transgresses  these  principles ;  and  when  their  attention  is  called  to 
the  fact  that  certain  rooms  have  no  closets,  they  state  that  they  require 
none  for  this  apartment,  or  that  there  is  one  in  the  adjoining  hall.  When 
it  is  remarked  that  certain  rooms  are  inaccessible  except  by  passing 
through  others,  they  answer  that,  although  it  may  be  in  violation  of  gen- 
eral principles,  yet  in  their  particular  case  it  is  especially  suitable.  It  is 
then  suggested  that  though  this  may  be  so,  yet,  should  they  desire  to  sell 
the  house,  such  an  arrangement  might  prove  an  insuperable  objection  to 
a  purchaser.  But  the  answer  generally  is  that  the  house  is  not  built  for 
sale.  It  is  intended  for  their  own  use ;  and  as  their  children  are  small, 
there  is  not  the  occasion  for  much  independent  privacy.  I  then  remind 
them  that  in  case  of  their  demise  they  little  know  what  disposition  may 
be  made  of  the  establishment,  and  it  would  be  well,  at  any  rate,  to  con- 
sider it  as  an  investment  for  their  families  after  they  are  gone ;  also,  that 
their  children  will  not  always  be  young,  and  as  they  advance  in  years  they 
will  require  different  accommodations  from  those  of  the  nursery.  But 
suggestions  and  arguments  are  in  vain.  They  will  follow  their  own  no- 
tions, and  when,  from  some  unex- 
pected calamity,  they  are  compelled 
to  sell,  they  find,  too  late,  the  warn- 
ings verified. 


DESIG-N   No.  4. 
First-floor  Plan. 

1.  Maiuhall;  2.  Parlor,  14X20;  3.  Library, 
14X14;  4.  Dining-room,  14x18;  5.  But- 
ler's pantry;  6.  Store-room  ;  7.  Kitchen, 
14X15;  8.  Pantry;  9.  Laundry;  10.  Ves- 
tibule; 11.  Main  stairs;  12.  Backstairs; 
13,  13,  13,  Verandas.  —  Estimated  cost, 


This  building  has  recently  been 
erected  at  Montclair,  New  Jersey, 

First-floor  Plan  of  Design  No.  4.  -          ^,       \-      >,      •  -n 

for  M.  Jb.  Keddmg,  Esq.,  and  is  a 

specimen  of  how  a  simple  square  structure  may  be  broken  up  into  pic- 
turesque outlines.  The  hall  is  of  the  L  shape,  having  double  doors  near 
the  entrance,  connecting  the  parlor  and  library.  A  broad  pier  is  left  in 
the  parlor  for  a  piano,  and  a  similar  one  in  the  library  for  the  bookcase, 
while  the  dining-room  has  a  special  niche  for  the  sideboard.  The  butler's 


PLANS.  47 

pantry  contains  sink  and  dresser,  and  communicates  with  an  ample  store- 
room. The  kitchen,  though  small  in  itself,  has  a  large  pantry,  and  is 
connected  with  the  laundry,  where  much  of  the  rough  work  may  be  done. 
There  are  four  large  bedrooms  and  one  bath-room  in  the  second  story, 
together  with  finished  rooms  in  the  attic.  The  main  staircase  ascends  to 
a  landing,  at  the  top  of  which  there  is  a  stained-glass  window  opening  on 
to  a  second-story  balcony.  The  house  is  of  frame,  sheathed  on  the  out- 
side and  clapboarded.  The  panels  between  the  windows  are  smooth- 
ceiled,  upon  which  flower  patterns  are  stencilled.  The  gables  and  attic 
walls  are  covered  with  ornamental  cut  shingles,  the  whole  having  a 
broken  and  varied  effect. 


48  MODERN  DWELLINGS. 


CHAPTER  V. 

BUILDING    MATERIALS. 
Brick. — Stone.  — Concrete. 

THE  site  being  determined  and  the  drainage  established,  it  becomes 
necessary  to  decide  upon  the  material  for  building.     In  most  of  the 
Eastern  and  Middle  States  stone  is  very  abundant ;  and  unless  it  can  be 
utilized  in  the  building  of  walls,  it  is  necessary  to  dispose  of  it  in  some 
other  way,  which  is  both  expensive  and  troublesome. 

The  vast  forests  which  formerly  covered  the  land,  from  which  timber 
could  be  procured,  are  rapidly  becoming  things  of  the  past ;  and  lumber 
is  now  brought  from  Maine  or  Michigan,  at  an  expense  for  freight- 
age of  more  than  half  its  value.  Why  not,  therefore,  instead  of  going 
hundreds  of  miles  for  building  material,  utilize  the  stone  which  we  dig 
out  of  our  cellars  ?  In  many  cases,  it  is  true,  it  is  of  coarse  quality,  and 
shaped  in  ill  accord  with  jointed  ashler ;  but,  however  rough  it  may  be, 
a  clever  mason  can  always  make  it  appear  well,  even  if  its  sides  are 
not  plumb  or  its  bases  true.  Rubble  or  random  courses  often  present  a 
better  appearance,  especially  if  the  material  is  of  somewhat  rough  char- 
acter, in  which  case  it  is  well,  instead  of.  making  the  pointing  flush,  to 
sink  it  as  deeply  as  possible  within  the  recess.  By  thus  emphasizing  the 
irregularity,  we  show  a  more  honest  construction  and  secure  a  certain 
picturesqueness  of  effect;  and  here  creepers  and  climbing  vines  have  a 
better  chance  to  cling  than  if  the  stone  were  dressed.  The  difficulty  in 
working  some  of  this  unyielding  material  is  in  adapting  it  to  the  open- 
ings and  corners ;  for  these  parts  it  may  prove  economy  to  import  a  bet- 
ter quality  of  stone.  Bricks  may  sometimes  be  used  effectively  in  the 
angles,  and  are  cheap,  for  the  reason  that  they  require  no  cutting.  One 
of  the  chief  expenses  in  stone  building  is  in  elevating  the  material ;  for 
which  reason,  the  custom  of  building  the  masonry  simply  to  the  second 
story,  and  finishing  the  remainder  with  wood,  has  become  quite  common 
in  England,  and  seems  to  be  appropriate  for  all  attempts  at  such  work. 
There  are  many  cases,  however,  where  stone  is  difficult  to  obtain,  when 


BUILDING  MATERIALS.  49 

we  would  suggest,  in  order  to  carry  out  this  motive,  brick  or  concrete 
should  be  used.  It  has  been  sometimes  argued  that  houses  of  these  ma- 
terials were  damp,  but,  if  properly  constructed,  our  experience  has  not 
proved  them  so  ;  and  when  we  consider  that  in  England  and  on  the 
Continent  these  are  the  only  materials  used,  and  that  in  the  principal 
cities  of  our  own  country  wood  as  a  building  material  is  prohibited,  we 
do  not  see  why  the  dampness  should  be  peculiar  to  our  suburban  build- 
ings, especially  in  so  dry  a  climate.  There  are  methods,  however,  by 
which  capillary  attraction  may  be  prevented,  and  one  is  the  laying  of  a 
course  of  slate  in  the  wall  above  the  ground,  on  a  line  with  the  water- 
table  or  first-story  beams.  This  is,  perhaps,  more  effective  when  laid  in 
with  hydraulic  cement. 

When  the  stone  taken  from  the  ground  is  more  than  is  needed  for 
building  purposes,  it  can  be  disposed  of  in  the  beds  of  our  roads  and 
walks ;  for  if  excavated  to  a  depth  of  from  three  to  six  feet,  according 
to  the  amount  of  material  at  our  disposal,  and  the  larger  stones  placed  at 
the  bottom,  graduating  up  with  the  smallest  upon  the  top,  the  foundation 
being  below  the  frost,  the  road  will  in  all  weathers  be  firm  and  dry,  and 
the  bottom,  being  open  on  the  principle  of  a  blind  ditch,  serves  an  admi- 
rable purpose  for  drainage.  These  road-beds  often  solve  the  embarrass- 
ing problem  of  what  we  shall  do  with  our  rubbish,  for  here  seems  a 
catch-all,  not  only  for  rocks  and  stones,  but  for  stumps,  shavings,  and 
other  debris.  Indeed,  if  we  place  earth  or  gravel  upon  the  surface, 
shavings  or  salt  hay  will  prove  a  useful  covering  to  prevent  the  earth 
from  washing  down ;  oth- 
erwise, after  every  rain 
we  are  liable  to  find  the 
road  full  of  holes ;  and 
shavings,  especially  those 
of  cedar,  will  remain  for 
years  without  decaying. 

Much  has  been  said 
recently  on  the  subject 
of  concrete  for  building, 
and  one  of  the  English  Design  NO.  5. 

journals  went  so  far  as  to  offer  a  premium  for  the  best  design  for  a  cot- 
tage in  this  material,  and  has  published  a  number  of  papers  on  the  sub- 
ject. They  propose  building,  not  only  the  exterior  walls,  but  the  parti- 
tions, floors,  and  even  the  staircases,  of  it.  The  smoke  flues  can  be  con- 
structed by  drawing  up  a  cylinder  as  the  work  progresses:  the  staircase 

4 


50  MODERN  DWELLINGS. 

risers  to  be  of  illuminated  tile ;  the  tread,  balusters,  and  hand-rail  made 
of  Roman  cement ;  some  of  the  floors  and  wainscots  to  be  of  tile,  and 
the  cornices  and  trimmings  of  cement. 

The  staircase,  trimmings,  and  pavements  of  the  Gilsey  House,  New 
York,  are  of  this  material.  The  balusters  are  ornamental,  and  the  heavy 
newels  and  hand-rail — which  latter  is  simply  capped  with  mahogany — 
attest  its  adaptability  for  this  purpose. 

The  chief  difficulty  in  the  use  of  concrete  is,  that,  as  it  sets,  it  is  liable 
to  shrink ;  and,  when  the  wall  is  of  great  length,  it  is  very  apt  to  crack. 
It  is  proposed  to  overcome  this  by  using  iron  anchors  through  the  walls, 
which  may  show  with  an  ornamental  head  on  the  surface.  The  walls 
may  further  be  sustained  by  a  system  of  wooden  battening,  resembling 
some  of  the  half -timber  constructions  of  an  Elizabethan  cottage,  these 
battens  to  be  bolted  on  the  inside.  However  well  this  may  be  adapted 
to  England,  where  they  enjoy  an  equable  climate,  we  think  it  would 
scarcely  be  so  here,  where  we  are  subject  to  such  extreme  changes.  If 
the  shrinkage  is  suggested  as  an  objection  with  them,  how  much  more 
of  one  would  it  be  here !  And  the  very  system  by  which  they  propose 
to  strengthen  the  walls — iron  ties — would  with  us  soon  work  ruin,  where 
the  climate,  varying  from  twenty  degrees  below  zero  to  a  hundred  and 
one  in  the  shade,  would  cause  contraction  and  expansion  of  these  metal 
anchors;  and  if  cracks  should  occur,  the  water  entering  them  would 
cause  disintegration,  and,  if  then  exposed  to  frost,  would  soon  make 
such  havoc  as  would  be  difficult  to  repair.  Stucco,  of  course,  would  be 
some  protection  to  the  exterior,  but  even  that  has  proved  far  from  satis- 
factory in  this  country.  It  is  true  that  in  some  parts  of  New  England 
this  has  been  applied  with  considerable  success,  but  (whether  owing  to  the 
climate,  material,  or  mode  of  working,  it  is  difficult  to  say)  it  has  proved 
a  failure  in  other  sections. 

Some  fifteen  years  since,  I  planned  a  house  which  was  built  of  con- 
crete brick.  This,  in  a  measure,  overcame  the  difficulty  of  shrinking,  as 
what  under  the  other  system  would  have  occurred  the  entire  length  of  the 
wall  was  here  distributed  in  each  brick,  which,  being  subjected  to  great 
pressure,  became  very  hard  and  durable,  so  that  the  house  still  stands  in 
good  condition.  But  it  is  difficult  to  determine  the  quality  of  the  con- 
crete. One  builder  may  produce  an  excellent  and  satisfactory  article; 
while  another,  either  from  want  of  experience  or  proper  material,  will 
make  it  in  such  a  manner  that  it  will  scarcely  last  a  season  ;  although 
its  weakness  may  not  become  apparent  until  some  time  after  the  house  is 
completed. 


BUILDING  MATERIALS. 


51 


However  good  this  method  may  be  for  contractors,  it  is  certainly  bad 
for  owners ;  and  unless  a  builder  and  locality  have  an  established  reputa- 
tion for  sound  work  of  this  character,  it  may  be  regarded  as  little  better 
than  an  experiment.  The  material  possesses  this  advantage,  however — 
it  seems  to  be  thoroughly  fire-proof.  When  floors  and  partitions  are  con- 
structed of  it,  especially  if  the  trimmings  and  mouldings  are  of  the  same, 
it  gives  a  sense  of  almost  absolute  security  in  this  respect. 


DESIGN    No.  5. 

First-floor  Plan. 

1.  Hall ;  2.  Parlor,  15  X  26 ;  3.  Library,  14x15;  4.  Diuiug-room,  15  X 16 ;  5.  Butler's  pantry ; 
6.  Store-room;  7.  Kitcheii,  15x20;  8.  Lavatory;  9.  Coat-closet;  10,10.  Veraudas. — 
Estimated  cost,  $8000. 

This  represents  a  house  on  the  Erie  Railroad,  a  few  miles  above  Pater- 
son,  the  residence  of  Wheeler  W.  Philips,  Esq.,  in  the  thriving  and  pictu- 
resque town  of  Bidgewood.  The 
first  story  is  built  of  stone,  above 
which  the  material  is  of  wood, 
framed  in  the  ordinary  manner 
and  clapboarded.  The  junction 
between  the  wood  and  the  stone 
is  covered  with  a  bold  dental  cor- 
nice, running  around  the  build- 
ing ;  the  gable  separated  from  the 
second-story  wall  by  a  similar  cor- 
nice of  the  battlemented  type. 
The  gables  are  covered  with  ver- 
tical boards  and  wide  battens.  A 
peculiar  feature  is  the  chimney 
showing  on  the  outside,  with  panels 
relieved  with  bands  of  black  brick. 

The  parlor  bay-window,  too,  is 
somewhat  peculiar,  owing  to  its 
being  octagon  below,  terminating 
with  a  square  gable  above. 

The   roof  is   of  purple   slate. 


First-floor  Plan  of  Design  No.  5. 


The  wood -work  is  of  a  warm  olive  color,  trimmed  with  chocolate,  the 
finer  lines  being  picked  out  with  black  and  Indian  red. 


52  MODERN  DWELLINGS. 


CHAPTEE  VI. 

SPECIFICATIONS. 
Estimates. — Contracts. — Mechanic's  Lien. — Foundations. — Rubble-work. — Pointing. 

f  J^IIE  tedious  and  somewhat  thankless  task  of  preparing  the  plans  being 
J-  completed,  it  becomes  necessary  to  draw  specifications  of  the  work- 
manship and  material  pertaining  to  the  different  trades,  after  which  the 
obtaining  of  estimates  is  in  order1.  The  usual  system  of  submitting  these 
to  competition  is,  no  doubt,  the  best,  although  it  is  frequently  dangerous 
to  award  the  contract  to  the  lowest  bidder,  as  it  often  proves  the  dearest 
in  the  end.  It  is  always  well,  in  obtaining  estimates,  to  allow  none  but 
those  in  whom  you  have  thorough  confidence  to  compete,  as  irresponsible 
parties  are  in  the  habit  of  estimating  low  in  order  to  obtain  a  contract,  and 
then  securing  themselves  against  loss  at  the  expense  of  the  owner.  Work 
done  by  the  day  is  certainly  the  most  satisfactory,  and,  although  more  ex- 
pensive at  the  start,  frequently  proves  an  ultimate  economy.  We  would 
also,  as  a  general  thing,  deprecate  the  system  of  giving  out  the  entire 
building  to  one  contractor,  for  it  is  too  much  to  attribute  to  one  man  a 
thorough  knowledge  of  all  the  complicated  branches  of  building.  If,  for 
example,  he  be  a  carpenter,  he  is  liable  to  let  out  the  other  trades  to 
irresponsible  men  whose  recommendation  is  simply  that  they  are  cheap. 
When  there  is  no  architect  to  superintend,  of  course  it  is  well  to  employ 
some  clever  "jack  of  all  trades;"  but  if  the  architect  is  accessible,  it  is 
much  better  for  him  to  supervise  and  let  out  each  of  the  trades  separately. 
In  this  way  the  owner  may  use  his  own  discretion  in  the  selection  of  his 
men,  and  still  have  the  advantage  of  the  work  at  first  cost. 

The  plans  and  estimates  being  finally  approved,  careful  contracts 
should  be  prepared  stating  terms  of  payment,  and  binding  the  contractor 
to  furnish  material  and  execute  his  work  according  to  the  true  intent  and 
meaning  of  the  plans  and  specifications,  and  to  the  satisfaction  of  the  ar- 
chitect, who  should  give  a  certificate  that  the  work  is  complete  before  the 
various  payments  are  made. 

One  of  the  greatest  bugbears  in  the  way  of  building  is  what  is  known 


SPECIFICATIONS. 


53 


as  the  mechanic's  lien  law,  which,  in  most  of  the  States,  seems  to  be  en- 
tirely one-sided,  intended  only  to  protect  the  mechanic;  and  owners,  if 
they  are  not  particular  to  guard  against  its  penalties,  are  more  than  likely 
to  become  victims. 

I  once  knew  a  couple  who,  after  an  industrious  and  frugal  life,  had, 
as  they  supposed,  accumulated  sufficient  to  keep  them  from  want  in  their 
old  age,  and,  retiring 
from  business,  deter- 
mined to  build  for  them- 
selves a  modest  home, 
and  thus  realize  their 
life -long  dream.  The 
building  was  completed 
and  paid  for ;  but  im- 
agine their  dismay  when 
they  found  that,  in  con- 
sequence of  the  irre- 
sponsibility of  their  con- 
tractor, they  were  called 

upon  to  defend  a  series  of  lawsuits  from  parties  who  had  furnished  both 
work  and  material  for  which  they  had  never  been  paid.  The  result  was 
that  the  unfortunate  couple  completely  lost  their  home,  and  what  re- 
mained of  their  savings  was  consumed  by  their  lawyers ;  so  that  their 
dream,  instead  of  being  realized,  proved  the  agent  of  their  destruction. 
It  becomes  as  important,  therefore,  for  those  inexperienced  in  building 
to  employ  an  architect,  as  it  is  to  have  a  lawyer  conduct  a  lawsuit. 

The  first  thing  an  architect  should  attend  to,  in  the  execution  of  his 
work,  is  the  laying-out  of  the  building  upon  the  grounds.  This  should 
be  done  under  his  own  supervision,  in  order  to  secure  the  best  grades, 
views,  drainage,  etc. 

Foundations  are  of  paramount  importance ;  for  if  they  are  not  sub- 
stantial, the  mistake  is  of  the  most  radical  nature.  How  many  buildings 
have  we  seen,  in  other  respects  thoroughly  good,  where  this  fatal  blunder, 
if  it  did  not  imperil  their  safety,  at  least  became  a  grievance  of  most  sore 
description !  One  church,  we  remember,  had  its  tower  taken  down  twice 
in  consequence  of  insufficient  foundations. 

The  walls  on  the  underside  of  the  frame  or  water-table,  constituting 
the  underpinning,  should,  if  possible,  be  laid  with  dressed  stone,  cut  in 
square  blocks,  not  necessarily  of  a  size.  It  is  true  that  there  is  an  ex- 
pense attending  this  which  may  be  overcome  by  introducing  what  is 


54  MODERN  DWELLINGS. 

known  as  rubble -work.  The  peculiarity  of  this  is,  that,  though  inex- 
pensive, it  may  be  made  to  appear  well  by  a  judicious  use  of  pointing, 
which  should  resemble  as  nearly  as  possible  the  natural  color  of  the  stone. 
But  here,  perhaps,  arises  an  objection  that  the  pointing  becomes  a  sham, 
covering  up  the  ragged  edges  of  the  stone  and  giving  them  the  appear- 
ance of  a  closely  dressed  joint.  We  would  therefore  advise,  if  possible, 
that  a  better  kind  of  work  should  be  exposed  to  view.  Still,  as  this  seems 
a  pardonable  deception  in  inexpensive  work,  a  slight  description  of  its 
method  might  be  advisable.  The  best  way  to  imitate  granite,  or  blue 
stone,  is  by  a  composition  of  cement  and  well-washed  sand,  colored  with 
lamp-black,  Spanish  brown,  and  Venetian  red.  (Lamp-black  being  liable 
to  fade,  blacksmith's  cinders  or  coal-dust  might  be  substituted.)  Regu- 
lar joints  may  then  be  struck  with  white-lead,  imitating  those  of  nicely 
jointed  masonry.  These  lines  should  be  perfectly  horizontal  and  plumb, 
and  as  nearly  as  possible  in  the  centre  of  the  pointing.  Sometimes  the 
cement  is  sprinkled  with  pulverized  stone,  which  is  pressed  into  the 
pointing  while  fresh.  The  color  for  the  entire  work  should  be  mixed 
at  one  time,  as  there  is  always  a  difficulty  in  reproducing  the  exact  shade. 

In  timber  buildings  the  walls  should  be  at  least  eighteen  inches  thick ; 
if  of  stone,  the  basement  walls  two  feet,  allowing  a  shelving  of  three 
inches  within  for  the  beams  to  rest  upon,  and  projecting  three  inches  on 
the  outer  side.  This  projection  should  be  capped  with  a  cut  stone  water- 
table,  which  may  be  bevelled  to  an  angle  of  forty-five  degrees. 

In  regard  to  foundations,  much  depends  on  the  natural  bed  upon 
which  we  are  to  build.  Rock,  as  may  be  supposed,  is  the  most  sub- 
stantial, and  next  to  this,  gravel,  or  hard-pan.  Large,  flat  stones  should 
be  placed  at  the  bottom,  and  when  these  do  not  get  a  perfect  bearing, 
they  should  be  imbedded  in  a  layer  of  cement  or  concrete,  the  thickness 
to  depend  upon  the  nature  of  the  substratum. 

When  there  is  any  part  of  the  foundation  resting  on  rock,  it  is  nec- 
essary, if  practicable,  to  run  all  the  trenches  down  to  this ;  for  in  case 
the  portion  resting  upon  the  ground  should  yield,  that  upon  the  rock 
remaining  solid,  the  structure  must  settle  unequally,  thereby  materially 
injuring  the  building,  and  throwing  it  out  of  level. 

Chimneys,  owing  to  their  extreme  height,  but  also  to  the  fact  that 
but  little  attention  is  usually  paid  to  their  foundations,  are  apt  to  settle, 
and  where  they  join  the  walls  of  the  apartments  we  almost  invariably  find 
cracks  extending  throughout  their  length. 


SPECIFICATIONS. 


55 


DESIGN   No.  6. 

First-floor  Plan. 

1.  Vestibule ;  2.  Main  ball ;  3.  Library,  14  X 14 ;  4.  Parlor,  14X20  ;  5.  Dining-room,  14  X 18 : 
6.  Butler's  pantry;  7.  Store-room  ;  8.  Kitcbeu,  14X16;  9.  Maiu  stairs;  10.  Back  stairs; 
11, 11.  Verandas. — Estimated  cost, 


This  is  a  frame  cottage,  with  four  rooms  and  a  hall  on  the  first  story, 
four  bedrooms  and  bath  on  the  second  floor,  and  good  accommodations 
in  the  attic.  The  hall  is  well 
lighted  by  the  staircase  -  window 
over  the  landing,  which  is  suffi- 
ciently high  to  admit  of  a  vesti- 
bule underneath.  It  is  nine  feet 
wide,  and  the  rear  is  enclosed  for 
the  accommodation  of  the  back 
stairs,  which  run  from  basement 
to  attic.  The  butler's  pantry, 
though  small,  has  two  dressers 
and  a  sink,  and  is  connected  with 
the  store-room.  There  are  two 
windows  placed  over  the  dressers 
for  light. 

The  fireplace  in  the  parlor  is 
opposite  that  of  the  library,  while 
in  order  to  give  the  chimney  the 
appearance  of  being  in  the  centre 


First-floor  Plan  of  Desigu  No.  6. 


of  the  room,  there  is  a  break  in  the  ceiling,  forming  a  transom,  on  a  line 
with  the  library  wall.  This  may  be  effectively  treated  with  curtains,  and, 
at  the  same  time,  improve  the  vista,  by  allowing  the  chandeliers  to  range 
on  a  line. 


56  MODERN  DWELLINGS, 


CHAPTEK  VII. 

FRAMING. 
Timber. — Furring. — Cellar  Partitions. — Covering  a  Frame  Honse. — Seasoned  Lumber. 

THE  foundation  being  complete,  let  us  now  take  up  the  subject  of 
framing.  The  old  method,  where  large  timbers  were  not  construct- 
ively put  together,  and  no  precaution  taken  against  settling,  seems  mostly 
to  have  gone  out  of  date,  and  to  have  been  supplanted  by  a  lighter  and 
more  simple  method.  It  is  evident  that  a  stick  of  timber  ten  inches 
square  can  be  divided  into  four  sticks  five  inches  square,  and  two  of  these, 
scientifically  put  together,  will  sustain  a  greater  pressure  than  the  original 
stick,  put  up  regardless  of  these  principles.  One  of  the  points  to  be 
guarded  against  in  timber  construction  is  that  of  shrinkage ;  for  however 
well  the  foundations  may  be  prepared,  if  the  frame  is  liable  to  shrink,  an 
equally  disastrous  settlement,  causing  the  cracking  of  plaster  and  a  general 
derangement  of  doors  and  windows,  is  sure  to  follow.  The  old  system  of 
placing  the  sill  on  edge,  with  the  beams  resting  on  independent  girders, 
each  liable  to  shrink  from  a  quarter  to  half  an  inch,  necessarily  caused  the 
house  to  settle.  Being  unequal  in  its  bearings,  the  floors  not  only  became 
unlevel,  but  the  resulting  strain  had  a  serious  effect  upon  all  its  parts,  caus- 
ing the  external  joints  to  open  and  the  roof  to  leak. 

There  was  a  mode  of  framing  invented  by  our  pioneers  with  a  view 
to  obviating  this  difficulty,  in  which  the  green  timber  was  so  manipulated 
as  to  avoid  shrinkage ;  and  by  a  nice  calculation  of  its  bearings  all  the 
strength  of  the  heavier  method  was  attained  with  a  small  amount  of  tim- 
ber. Advocates  of  the  unscientific  mode  ironically  styled  it  the  balloon 
system.  Yet,  notwithstanding  all  the  ridicule  to  which  it  was  subjected, 
it  has  steadily  grown  in  favor,  and  is  now,  in  a  modified  form,  accepted  by 
our  best  builders.  The  system  upon  which  it  is  based  is  simply  to  avoid, 
as  far  as  is  possible,  resting  the  frame  on  girders  or  interties.  The  sill, 
instead  of  being  set  on  edge,  is  laid  flat,  reducing  its  shrinking  properties 
to  three  inches  instead  of  ten.  This  method  has  also  the  effect  of  distrib- 
uting the  weight  over  a  greater  surface  of  the  foundation,  and  supplying 
a  sort  of  cap  or  binder  to  the  wall.  The  studs  and  posts,  instead  of  being 


FRAMING.  57 

cut  at  each  story,  and  surmounted  by  a  lateral  timber  or  intertie,  which  is 
liable  to  shrink,  are  run  continuously  up  to  the  roof,  interties  being  omit- 
ted altogether.  Thus,  instead  of  thirty  or  forty  inches  of  timber  across 
the  grain,  we  have  but  the  sill  and  plate,  in  both  of  which,  being  placed 
flat,  the  shrinkage  is  reduced  to  eight  inches  only.  It  is  a  well-known  fact 
that  timber  shrinks  across  the  grain,  and  not  lengthwise. 


Design  No.  7. 

All  timbers  receiving  lath  should  be  about  sixteen  inches  from  centres, 
in  order  to  give  the  lath,  which  is  four  feet  long,  four  bearings  for  nails. 
Furring  strips  might  be  placed  at  the  distance  of  twelve  inches,  giving 
five  nailings  to  each  lath. 

It  is  generally  a  good  principle  not  to  lath  immediately  on  the  under- 
side of  the  floor  beams,  as  the  shrinking  of  these  timbers  is  likely  to  cause 
irregularities  and  cracks.  To  prevent  this,  the  system  of  furring,  in  which 
there  is  a  series  of  strips,  say  one  by  two  inches,  nailed  across  the  joists, 
may  be  introduced. 

In  regard  to  roof  timbers  no  particular  suggestions  need  be  offered. 
The  plate  may  be  of  pine,  laid  flat  as  before  described ;  the  sloping  rafters, 
3x5;  rafters  on  decks,  3x8,  each  24  inches  from  centres ;  hip  rafters, 
2x8;  valley  rafters,  3  x  10  ;  ridge  pieces,  2x9. 

We  would  here  observe  that  the  cellar  partitions  in  all  first-class  build- 
ings should  be  of  stone  or  brick  instead  of  wood,  as  the  dampness  of  the 


58  MODERN  DWELLINGS. 

cellar  is  apt  to  rot  the  wood,  making  the  foundation,  in  time,  insecure.  It 
is  true  that  brick  piers  ever}'  six  or  eight  feet  form  an  excellent  substitute, 
but  in  this  case  the  intermediate  weight  necessarily  comes  upon  the  gird- 
ers, which  have  to  be  heavy  in  order  to  prevent  sagging,  and  the  increased 
size  offers  a  greater  surface  for  shrinking.  Brick  arches  over  piers  are  a 
good  construction,  as  they  not  only  give  the  entire  superstructure  an  equal 
bearing,  but  do  away  with  solid  partitions,  which  obstruct  both  light  and 
air.  I  have  sometimes  seen  iron  rails,  such  as  are  used  on  railroads,  placed 
on  top  of  these  piers.  These  make  a  thoroughly  solid  and  fire-proof  bear- 
ing, not  being  liable  either  to  shrink  or  decay. 

The  old  plan  of  filling  in  the  frame  with  brick  has  proved  objection- 
able, inasmuch  as  it  is  found  to  collect  moisture,  making  the  house  damp 
and  thereby  hastening  decay.  Brick  filling,  therefore,  has  been  aban- 
doned and  the  process  of  sheathing  substituted.  This  is  simply  a  cov- 
ering of  plank  boards  nailed  diagonally  over  the  outside,  which  adds  so 
much  to  the  strength  that  the  frame  may  be  made  considerably  lighter, 
and  consequently  less  expensive.  This  sheathing  is  covered  with  thick 
paper  or  felt,  and  is  then  ready  to  receive  the  outside  clapboards.  In 
houses  built  after  the  old  plan,  the  frame,  in  shrinking  away  from  the 
bricks,  was  apt  to  leave  numerous  seams  through  which  the  wind  and  cold 
might  penetrate,  while  the  felt,  a  perfect  non-conductor,  being  wrapped 
around  the  entire  building,  acts  like  a  blanket,  keeping  all  warm  and  dry 
within. 

Great  care  should  be  taken,  in  covering  a  frame  house,  that  there  are 
no  joints  in  the  trimmings  that  will  admit  rain  or  snow.  The  upper 
members  should  always  overlap  those  underneath,  on  the  same  principle 
as  a  shingle  or  clapboard.  Thus  the  upper  trimming  of  a  door  or  win- 
dow should  have  a  lip,  or,  as  it  is  known  in  carpentry,  a  rabbet,  that  may 
run  up  under  the  siding,  as  should  every  horizontal  joint  throughout  the 
exterior  of  a  building.  I  have  often  heard  carpenters  say  that  their  joints 
fit  so  tight  that  no  water  could  be  admitted;  and  when  you  speak  of 
shrinkage,  they  say  their  lumber  is  so  well  seasoned  that  you  need  have 
no  fears  on  that  score ;  but  no  greater  fallacy  than  this  can  exist.  In  our 
days  there  is  no  seasoned  timber,  and  even  if  there  were,  it  would  shrink. 
I  have  known  of  wood  that  has  stood  for  half  a  century,  which,  when 
worked  over  and  a  new  surface  exposed,  has  both  swelled  and  shrunk. 
Therefore  it  is  useless  to  accept  the  theory  of  non-shrinking  of  wood,  even 
after  it  is  painted. 

Of  course,  the  better  seasoned  the  lumber  is,  the  better  chance  it  has ; 
and  as  the  difficulties  of  procuring  seasoned  timber  are  so  great,  if  time 


FRAMING. 


59 


were  not  an  object,  it  would  be  better  for  the  owner  to  purchase  his  mate- 
rial a  year  or  so  before  it  is  needed,  and  stack  it  up  to  dry.  Usually,  how- 
ever, the  great  point  is  to  have  the  building  completed  in  as  short  a  time 
as  possible,  as  our  minds  are  rarely  made  up  till  the  last  minute,  when 
everything  is  wanted  in  a  hurry.  In  fact,  if  a  house  could  be  simply  en- 
closed so  as  to  protect  it  from  the  weather,  and  the  lath  put  on,  and  so 
remain  for  six  months  or  a  year  before  plastering,  the  whole  would  have 
an  opportunity  to  settle  and  shrink — a  process  usually  going  on  after  the 
house  is  completed — and  cracks  in  the  plaster  would,  in  a  great  measure, 
be  prevented.  In  the  same  way  the  interior  wood -work  and  trimmings 
might  be  prepared,  and  have  the  advantage  of  being  seasoned  before  being 
applied. 


DESIGN   No.  7. 
First-floor  Plan. 

1.  Veranda;  2.  Main  hall;  3.  Library,  15X15;  4.  Office,  8x9;  5.  Living-room,  15X28; 
6.  Dining-room,  15X20;  7.  Butler's  pantry;  8.  Store  -  room ;  9.  Kitchen,  14x20; 
10.  Servants'  hall;  11.  Servants'  porch;  12.  Back  stairs;  13.  Principal  stairs. — Esti- 
mated cost,  $8000. 

This  is  a  simple  frame  cottage  of  small  cost,  such  as  many  of  our 
American  people   might  build.     The  living-room   is   large,  surrounded 
on  three  sides  by  a  wide  veranda.     The  dining-room  connects  with  the 
kitchen   through   a  butler's  pantry, 
out  of  which  opens  a   store-room. 
The   kitchen   has    two    closets,  and 
there  are  back  stairs.     The  library  is 
of   good   size,  communicating   with 
the  gentleman's  "  growlery :"    both    EEL 
these  rooms  open  on  to  the  veranda. 
The  second  story  has  four  bedrooms, 
bath,  and  two  dressing-rooms;   the 
servants'  apartments  are  in  the  attic. 

From  the  staircase  landing  a  very 
pretty  effect  is  obtained  by  a  triplet  window  of  colored  glass,  lighting  the 
first  and  second  stories,  and  showing  conspicuously  from  both.  The  left- 
hand  window  communicates  with  a  large  balcony,  covered  by  the  main 
roof.  Another  unusual  feature  is  the  bracketing-out  of  the  main  roof 
over  the  sitting-room  veranda,  in  order  to  cover  the  second-story  balcony. 

In  this  climate,  supplementary  roofs,  tacked  on  promiscuously,  are 


,  

n 

II 

3  -i  * 

I 

•JU 

10 

13 

HMIi'i'M 

:• 

a 

k'l 

2 

o     itlJ 

1 

' 

i 

.  .J 

First-floor  Plan  of  Design  No.  7. 


60  MODERN  DWELLINGS. 

objectionable.  Balconies,  canopies,  dormer-windows,  and  even  veranda 
roofs,  necessitate  much  work,  and  are  a  continual  source  of  annoyance  and 
expense,  owing  to  leakage.  Roof  decks  are  also  productive  of  much 
trouble,  especially  in  our  climate,  where  we  are  subject  to  heavy  falls  of 
snow.  They  should  be  abandoned,  if  possible,  and  the  roofs  carried  tip 
to  the  ridge,  sufficiently  steep  for  the  snow  to  slide  off  without  obstruc- 
tion. The  nearer  we  get  to  the  form  of  a  tent,  the  nearer  we  arrive  at 
perfection  in  this  respect.  Here  the  Queen  Anne  system  comes  to  our 
aid,  and  seems  to  offer  the  method  that  most  fully  meets  our  require- 
ments. Designs  Nos.  10, 12, 14  are  examples  of  this.  In  these  the  main 
roof  covers  everything,  even  to  the  balconies,  dormers,  and  verandas. 


ROOFING.  61 


CHAPTER  VIII. 

ROOFING. 

Metals. — Shingles. — Slate. — Testing  Slate. — Sheathing. — French  Method. — Oiling  Slate. 
— Painting  Roofs. — Tiles  for  Roofing. — Greetings  and  Fiuials. 

I  AD  VISE  that  the  walls  be  covered  before  the  roof  is  built,  as  I  have 
frequently  known  the  latter  to  be  carried  off  by  the  wind,  when  the 
sides  of  the  house  were  not  protected.  The  further  to  exclude  draughts, 
it  is  well  to  enclose  the  door  and  window  openings  with  rough  boards  or 
temporary  sashes,  at  least  on  the  side  toward  the  wind.  The  openings 
on  the  leeward  side  act  as  an  escape,  or  safety-valve,  in  case  of  danger 
from  this  source. 

In  regard  to  the  material  for  covering  the  roof,  much  depends  upon 
the  angle  of  inclination.  It  is  obvious  that  if  flat,  with  sufficient  pitch 
only  to  shed  the  water,  slate  or  shingle  would  be  impracticable,  as  driving 
storms  would  be  apt  to  force  the  rain  or  snow  under  them.  It  is  gener- 
ally considered  that  these  materials  are  not  desirable  if  the  angle  be  less 
than  thirty  degrees.  Metal  forms  the  best  covering  for  roofs  that  are 
inclined  to  be  flat.  Copper  is  no  doubt  the  best  material,  but  it  is  little 
used  on  account  of  its  expense.  Tin,  in  our  climate,  answers  as  an  excel- 
lent substitute ;  composition — such  as  tar  or  other  materials — we  would 
not  advise  on  good  work,  as  its  only  merit  is  its  cheapness.  It  is  gener- 
ally advisable  that  roofs  of  dwelling-houses  should  be  of  sufficient  pitch 
to  admit  of  the  use  of  slate  or  shingles.  Split  shingles,  although  more 
expensive,  serve  their  purpose  better  than  the  kind  known  as  sawn  shin- 
gles, as  in  the  former  the  fibre  runs  the  entire  length.  The  advantage 
gained  by  their  use  is  that  the  moisture,  in  following  the  line  of  the 
wood,  is  less  likely  to  penetrate.  In  sawn  shingles,  the  surface  is  fre- 
quently across  the  grain,  rendering  them  not  only  more  liable  to  break, 
but,  the  ends  of  the  fibre  being  exposed,  they  more  readily  absorb  moist- 
ure, which  induces  rapid  decay.  It  is  an  erroneous  idea  that  rafters  must 
be  boarded  before  the  shingles  are  applied ;  as  much  air  as  it  is  possible 
to  procure  is  necessary  for  a  shingle  roof,  both  above  and  below,  in  order 
to  keep  it  dry  and  free  from  rot.  A  shingle  roof  will  last  much  long- 


62  MODERN  DWELLINGS. 

er  if  simply  laid  on  slats  placed  at  the  proper  distances  to  receive  the 
nails. 

The  numerous  quarries  of  slate  which  have  recently  been  developed 
throughout  the  country  offer,  we  think,  the  most  desirable  material  for 
rooting.  The  best  slates  supplied  at  present  are  from  Pennsylvania  and 
Vermont,  although  there  are  other  quarries  furnishing  excellent  varieties. 
Perhaps  those  of  Virginia  may  also  rank  among  the  best.  Their  grain 
is  so  close  and  even,  that  they  may  be  made  thinner,  and  consequently 
lighter.  At  the  same  time  they  present  a  smooth  surface;  and  their 
color,  which  is  excellent,  is  less  liable  to  fade. 

A  good  slate  may  be  known  by  its  ringing  sound  when  struck.  Hard- 
ness is  thus  indicated,  which  is  a  most  desirable  quality.  Such  slate  pos- 
sesses small  power  of  absorbing  water.  The  contrary  property  is  gener- 
ally found  in  those  whose  surface  is  smooth  and  greasy.  "  The  quantity 
of  water  absorbed  by  slate  in  a  given  time  is  a  sure  test  of  its  quality, 
the  best  being  that  which  retains  the  smallest  possible  amount.  In  select- 
ing a  rooting  slate,  therefore,  a  safe  plan  would  be  to  weigh  each  variety 
before  placing  it  in  a  tub  of  water,  when,  after  several  hours'  immersion, 
and  being  again  weighed,  that  which  has  gained  the  least  will  prove  the 
most  durable."  The  great  advantage  possessed  by  slate  roofs  lies  in  the 
fact  that  they  are  not  affected  by  damp.  Another  is,  that  slats  need  not 
be  employed.  Here  sheathing  is  not  only  legitimate,  but  between  this 
and  the  slate  thick  felt  may  be  placed,  which  is  a  protection  from  heat 
and  cold,  and  acts  as  a  barrier  against  wind  and  snow ;  for,  although  the 
lap  of  the  slate  may  be  sufficient  to  exclude  rain,  snow  will  always  be 
forced  into  every  crevice  in  case  of  wind. 

In  roofs  of  this  kind  it  is  always  desirable  that  the  grain  should  run 
lengthwise,  rather  than  across,  for,  as  the  slates  are  usually  secured  by  two 
nails  near  the  top,  they  are  apt,  in  case  of  cross  grain,  to  break  at  these 
points  during  violent  storms. 

The  French  method  of  laying  slate,  as  given  by  Viollet  le  Due,  has 
a  great  advantage  in  this  respect.  It  consists  of  a  strip  of  metal  which 
lines  the  slate  and  is  turned  up  at  the  bottom,  space  being  allowed  at  the 
top  for  the  nails.  Thus  each  slate  is  secured  in  its  position  without  the 
necessity  of  punching  holes,  which  invariably  impairs  its  strength. 

It  is  usually  a  custom,  after  the  slating  is  completed,  to  cover  it  with 
a  coating  of  oil.  This  seems  to  clean  it  off,  and  gives  it  a  dark  appear- 
ance, and  the  slater  will  assure  you  that  it  prevents  its  fading.  This, 
however,  ie  an  expedient  entirely  unnecessary  in  good  work,  for  poor 
slate  alone  will  absorb  the  oil,  and  only  this  quality  is  liable  to  fade.  Oil 


ROOFING. 


63 


Design  No.  8. 


on  sound  slating,  therefore,  remains  on  the  surface  only  until  it  is  wash- 
ed off  by  the  rain,  and  is  then  conducted  into  our  cisterns,  and  we  won- 
der what  is  the  matter  with  the  water ! 

Another  folly  that  we  might  as  well  condemn  is  that  of  painting 
roofs ;  we  mean  particularly  shingles,  for  these,  if  left  to  themselves,  will 
naturally  assume  a  color  which  improves  every  year  by  exposure ;  while 
paint  not  only  appears 
unnatural  at  the  outset, 
but  looks  worse  and 
more  rusty  as  each  sea- 
son passes.  Another 
objection  to  paint  is, 
that  although  it  is  used 
to  protect  the  shingles 
against  the  weather,  it 
in  reality  promotes  their 
destruction ;  for  the  shin- 
gles in  their  natural  state  allow  the  water  to  run  free,  whereas  paint  fills 
up  the  cracks  or  water-courses,  and  forms  certain  ridges,  which  prevent 
its  escape ;  consequently  it  remains  in  the  wood. 

There  is  a  certain  sympathy  between  shingles  and  the  changes  of  the 
weather  which  renders  them  especially  suitable  as  a  covering.  Not  only 
do  they  assume  a  harmonious  color  through  exposure,  but  in  dry  weather 
they  shrink  and  give  ventilation  to  the  roof ;  and  in  wet  weather,  when 
it  is  necessary  to  keep  out  the  storm,  they  swell  again  and  become  tight. 

Perhaps  it  is  too  much  to  say  that  shingles  never  appear  well  when 
painted.  I  have  seen  shingle  roofs  improved  by  being  painted  something 
the  color  of  red  tile.  They  have  thus  much  the  appearance  of  tiles,  and, 
while  less  expensive,  they  require  no  additional  construction  to  support 
their  weight.  I  learned,  however — and  I  have  since  tried  the  experiment 
— that  the  shingles  were  dipped  in  a  tub  of  paint  before  being  applied. 
This  not  only  does  away  with  the  usual  objection  of  filling  up  the  cracks, 
but  coats  the  shingle  on  the  underside  arid  edges,  so  that  the  tendency 
of  the  paint  is  rather  to  preserve  than  destroy. 

Tiles,  for  the  purpose  of  roofing,  although  much  used  in  the  Dutch 
colonies  of  this  country  a  century  or  two  ago,  seemed  to  have  fallen  into 
disuse  until  within  the  last  few  years.  That  they  possess  much  merit  can- 
not be  denied.  The  greatest  difficulty  hitherto  appears  to  have  been  the 
expense,  although  we  understand  that  those  used  on  the  building  erected 
by  the  State  of  New  Jersey  on  the  Centennial  Grounds  were  nearly  as 


64  MODERN  DWELLINGS. 

cheap  as  ordinary  slate.  Tiles  certainly  are  very  orjjamental,  and  when 
of  a  color  complementary  to  the  exterior  of  the  building,  produce  a  de- 
cidedly picturesque  effect.  By  this  we  would  imply  that  when  they  are 
red  they  should  not  be  used  on  a  building  the  external  walls  of  which  are 
of  the  same  color  —  as  brick,  for  instance.  Here  green  or  purple  would 
present  the  best  contrast ;  but  in  case  the  walls  were  of  darker  material, 
say  blue  granite  or  limestone,  the  red  is  desirable,  and  seems  to  warm  up 
the  cheerless  effect,  as  brick  trimmings  relieve  the  coldness  of  blue  stone. 
In  England  some  beautiful  effects  in  crestings  and  finials  have  been  de- 
veloped in  this  material  (kindred  specimens  may  be  seen  on  St.  George's 
Hall  at  Philadelphia),  and  seem,  in  a  great  measure,  to  have  superseded 
the  cast-iron  structures  which  have  hitherto  "  out-Heroded  Herod "  in  ob- 
truding their  fantastic  proportions  against  the  sky. 

The  dipped  shingles,  as  before  described,  producing  the  effect  of  these 
tiles  in  color,  may  have  a  ridge  of  wood  somewhat  resembling  the  tile 
cresting  in  outline,  and  painted  the  same  color.  This  cresting  should  cover 
the  ridge  on  the  principle  of  a  saddle,  and,  when  properly  secured,  it  may 
do  away  with  the  necessity  of  metal  flashings.  The  beauty  of  tile  roofs 
seems,  however,  to  consist  in  simplicity.  When  worked  into  fancy  forms, 
tiles  lose  their  dignity,  and  have  a  frivolous,  tawdry  effect.  In  fact,  the 
less  we  emphasize  the  roof  the  better,  as  it  should  be  the  chimneys  which 
give  prominence  to  the  building. 


DESIGN   No.  8. 
First-floor  Plan. 

1.  Hall,  15X 18 ;  2.  Parlor,  14  X  18  ;  3.  Dining-room,  14X 18 ;  4.  Butler's  pantry  ;  5.  Store- 
room ;  6.  Kitchen,  15X16.— Estimated  cost,  $5000. 

The  peculiarity  of  this  design  is  the  absence  of  verandas,  which  are 
superseded  by  a  large  porch  some  fourteen  feet  square.  This  porch  has 
all  the  advantages  of  a  room,  and  may  be  made  secluded  by  an  arrange- 
ment of  rolling  shutters,  to  let  up  or  down  at  pleasure.  Here  the  family 
may  sit  in  groups,  instead  of  being  stretched  out  in  a  line,  as  must  gen- 
erally be  the  case  on  a  veranda.  It  is  true,  if  the  veranda  be  of  suffi- 
cient width,  social  circles  may  be  formed,  but  not  without  obstructing  the 
space  appropriated  as  a  promenade,  which  is  the  chief  reason  why  a  ve- 
randa is  preferable  to  a  porch.  Perhaps  the  best  arrangement,  therefore, 
in  order  to- meet  both  these  requirements,  is  to  have  a  veranda  constructed 
on  the  principle  of  bays,  where  groups  may  assemble  without  interfering 


ROOFING. 


C5 


with  those  who  wish  to  enjoy  a  walk.     An  arrangement  of  this  kind  is 
attempted  in  Design  No.  9. 

Passing  the  entrance  porch,  the  large  square  hall  with  its  low  land- 
ing staircase,  lighted  by  a  triplet  bay- 
window  of  stained  glass,  becomes  the 
prominent  object  of  interest.  This 
hall  and  porch,  therefore,  would  nat- 
urally become  the  favorite  gathering- 
place  of  the  family,  while  the  parlor 
would  serve  as  the  reception  and  mu- 
sic room. 

The  butler's  pantry,  store-room, 
and  kitchen  are  arranged  in  the  usual 
manner.  The  second  story  has  four 
sleeping-rooms,  bath-room,  and  the  cus- 
tomary accompaniment  of  closets,  one 
of  which,  connected  with  the  cham- 
ber over  the  hall,  is  of  somewhat  unu- 
sual dimensions,  being  the  space  en- 
closed by  the  lean-to  roof  over  the 
porch.  Owing  to  the  peculiar  slope 
upon  which  this  house  is  built,  the  rear  of  the  cellar  coming  above  the 
ground,  the  kitchen  might  easily  have  been  located  in  the  basement,  allow- 
ing the  one  indicated  in  the  design  to  serve  as  a  dining-room.  This  was 
objected  to  on  account  of  the  too  great  exertion  required  in  going  up  and 
down  stairs,  so  the  basement  was  converted  into  a  laundry. 

5 


First-floor  Plan  of  Design  No.  8. 


66  MODERN  DWELLINGS. 


CHAPTER  IX. 

GLASS. 
Plate-glass. — Stained  Glass. — Prismatic  Glass. — Blue  Glass. 

IN  imitating  ancient  example,  as  was  said  before,  it  is  not  incumbent 
upon  us  to  give  up  all  that  we  have  gained  in  the  course  of  centuries, 
but  to  adopt  and  incorporate  with  the  old  everything  that  has  been  proved 
desirable  in  the  new.  For  example,  in  Queen  Anne's  time,  small  panes 
of  glass  were  invariably  used,  for  the  simple  reason  that  they  had  no  large 
ones ;  but  for  us  to  go  back  to  the  use  of  small  panes,  only  because  they 
belong  to  the  style,  would  be  ridiculous.  We  should  not  only  injure  our 
view  by  cutting  it  up  with  these  little  checkered  squares,  but  would  miss 
the  brilliant  effect  that  we  might  obtain  from  that  most  beautiful  of  mod- 
ern inventions,  plate-glass. 

Plate-glass  in  a  country-house  will  add  a  greater  richness  than  anything 
else.  Its  reflection  from  the  exterior  is  so  clear  and  perfect,  that  it  in- 
stantly attracts  the  attention  of  the  passer-by ;  and  as  it  is  approached,  its 
delineation  of  the  lawn  and  distant  scenery  is  a  picture  which  none  but 
the  Great  Architect  could  paint.  From  the  interior,  plate-glass  is  so  abso- 
lutely translucent,  that  no  obstruction  seems  offered  to  the  view ;  so  that, 
in  case  of  a  window  glazed  with  a  single  light,  it  is  often  supposed  that 
the  sash  must  be  open,  which  is  the  acme  of  the  effect  to  be  produced.  I 
remember  a  circumstance  of  a  gentleman  entertaining  some  of  his  friends 
at  a  lawn  party,  where  a  very  ludicrous  scene  occurred.  One  of  the  com- 
pany, a  clergyman,  went  into  the  house  to  procure  a  croquet  set ;  and,  see- 
ing the  window,  which  extended  to  the  floor,  open,  as  he  supposed,  he 
attempted  to  walk  out  that  way,  when,  to  his  dismay,  he  crashed  through 
an  entire  pane  of  glass.  And  here  a  scene  followed  which,  but  for  the 
serious  consequences  that  might  have  ensued,  would  have  been  laughable 
in  the  extreme.  The  sash,  being  suddenly  relieved  of  its  load  of  glass, 
flew  up  like  a  shot,  and  the  poor  gentleman  came  within  an  ace  of  being 
carried  up  with  it.  As  it  was,  he  was  sent  flying  out  on  the  lawn ;  and 
had  it  not  been  for  the  croquet-box,  which  intervened  between  himself 
and  the  glass,  he  might  have  been  severely  injured.  In  order  to  prevent 


GLASS. 


67 


the  repetition  of  such  an  accident,  the  owner  had  illuminated  on  the  cen- 
tre of  each  pane  the  monogram  of  the  different  members  of  his  family. 

In  windows  only  intended  to  give  light,  and  not  in  a  position  to  com- 
mand a  view,  it  would  be  proper  to  use  small  panes,  or  even  stained  glass 
with  leaded  sash.  This  would  be  allowable,  for  instance,  in  windows  over 
a  staircase  landing,  and  indeed  in  all  sashes  above  the  height  of  the  eye. 
Though  this  idea  is  borrowed  from  the  Gothic,  and  seldom  found  in  the 
examples  of  the  Queen  Anne,  yet  we  do  not  hesitate  to  accept  it  as  being 
extremely  beautiful,  and  capable  of  the  most  artistic  treatment.  I  have 
recently  fitted  up  a  dining-room,  where  the  upper  sashes  are  thus  treated. 
Designs  of  fruit,  game,  convivial  scenes,  and  texts  of  good  cheer  furnish 
appropriate  decorations. 

Staircase  windows  particularly  offer  an  opportunity  for  stained  glass. 
When  they  are  placed  above  a  landing,  thereby  coming  into  a  central 
position  between  the 
two  stories,  they  serve 
the  double  purpose  of 
lighting  both,  as  is 
shown  in  several  of 
these  designs.  When 
introduced  in  a  prop- 
er hall — I  mean,  one 
serving  more  as  a 
room  than  a  passage 
— stained  glass  is  ap- 
propriate, even  if  not 
admitted  to  any  other  part  of  the  house.  In  the  panels  of  the  hall  door, 
also,  instead  of  having  the  unmeaning  and  at  the  same  time  expensive 
material,  known  as  figured  glass  —  in  which  the  figures,  by-the-way,  are 
almost  always  execrable  —  stained  glass  would  be  appropriate,  as  its  ob- 
scure effects  would  serve  the  purpose  of  preventing  passers-by  from  see- 
ing in,  which  is  the  only  object  of  ground  glass.  Upon  the  fan-lights  it 
could  also  be  well  applied,  and  the  green  curtain  or  the  chef  d?<mivre  of 
ornamental  paper  might  be  dispensed  with. 

Many  think  that  stained  glass  gives  a  house  too  much  the  appearance 
of  a  church.  This  was  formerly,  and  with  good  reason,  said  of  furniture 
and  interiors  treated  in  the  Gothic  style.  This  perhaps  suggests  one  rea- 
son why  the  Queen  Anne  rendering  is  so  popular ;  every  detail  seems  BO 
fitted  for  domestic  use.  Stained  glass  has  also  an  adaptability  to  domestic 
purposes,  which  has  been  developed  in  this  style.  Instead  of  a  dark  and 


Desigu  No.  9. 


68  MODERN  DWELLINGS. 

dim  religious  treatment,  the  colors  are  usually  light  and  transparent,  and 
the  leading,  instead  of  being  diamond  -  shaped,  is  square.  The  material 
used  is  that  known  as  "roll  cathedral,"  which,  from  the  unevenness  of  its 
surface,  has  a  brilliant  and  sparkling  effect.  We  would  warn  our  readers 
against  using  plain  or  enamel  glass  for  this  purpose. 

There  are  some  windows  in  the  Cafe  Brunswick,  ~New  York,  which 
are  examples  of  this  style,  and  seem  appropriate  to  the  decorations  and 
furniture.  They  are  good  specimens  of  this  work. 

Sometimes,  when  the  openings  are  small,  the  light  may  be  increased 
by  using  prismatic  glasses,  similar  to  those  in  a  dead-light  over  an  area. 
A  small  aperture  is  frequently  all  that  is  necessary  to  give  a  large  amount 
of  light  when  treated  in  this  manner ;  and  could  we  realize  how  minute  a 
glass,  properly  placed,  will  suffice  to  light  a  large  space,  as  in  the  apex  of  a 
dome,  we  would  more  readily  believe  that  we  have  not  yet  reached  the 
perfection  of  lighting. 

Stained  glass  in  our  houses  seems  such  an  innovation  that  the  major- 
ity of  people,  taking  custom  only  as  their  guide,  are  astonished  at  the 
mere  suggestion ;  and,  true  to  the  religious  instincts  of  their  forefathers, 
who  so  long  banished  it  from  their  temples  of  worship,  it  seems  difficult 
for  them  to  become  reconciled  to  it  in  their  dwellings.  It  sometimes  be- 
comes necessary  for  the  architect,  in  order  to  accomplish  such  a  reform, 
to  resort  to  subterfuge  ;  and  the  mania  for  blue  glass,  in  the  healing  prop- 
erties of  which  so  many  were  gaining  faith,  afforded  the  desired  oppor- 
tunity. A  true  artist  might  at  one  time  have  felt  especially  favored  if 
he  were  in  possession  of  some  fanciful  or  hypochondriacal  client.  Now, 
however,  it  is  generally  conceded  that  the  fact  of  the  glass  being  blue  has 
very  little  to  do  with  its  healing  properties,  although  it  is,  no  doubt,  effica- 
cious to  resort  to  such  a  device,  in  order  to  induce  people  to  submit  them- 
selves to  the  rays  of  the  sun.  There  is  little  doubt  that  a  sun-bath  of 
any  color,  or  of  no  color  at  all,  would  produce  the  same  effect.  Physicians 
say  that  the  sun  is  as  necessary  to  the  health  of  animals  as  to  the  life  of 
plants ;  and  if  people  would  expose  themselves  more  to  its  influence,  there 
would  be  fewer  aches  and  better  health,  both  mental  and  physical.  There 
is  little  doubt  if  our  dwellings  could  be  arranged  more  on  the  principle  of 
conservatories,  where  we  might  sun  ourselves,  as  well  as  our  plants,  we 
should  find  a  corresponding  improvement. 

Blue  glass,  viewed  aesthetically,  may  act  as  a  foundation  to  artistic 
treatment  in  design — either  leaves  and  flowers,  with  an  occasional  medal- 
lion, or  a  Japanese  rendering  of  storks  and  rushes — while  it  gives  a  liquid 
or  atmospheric  effect  to  the  background. 


<;LASS. 


69 


The  chief  objection  urged  against  stained  glass  is  its  expense ;  and 
although  but  a  portion  of  the  sash  need  be  thus  treated,  a  dollar  and  up- 
ward per  foot  (according  to  the  work)  soon  amounts  to  a  sum  which  an 
economical  estimate  will  not  permit.  Variations,  however,  may  be  given 
to  an  upper  sash  of  clear  glass,  by  making  the  sides  of  geometric  pat- 
terns; and  with  a  simple  transparency  suspended  in  its  centre,  a  good 
effect  is  often  produced.  These  transparencies  may  be  made  the  entire 
size  of  the  sash,  so  that  they  can  be  removed  at  pleasure,  and  are  often 
convenient  where  plate -glass  is  already  in,  and  where  any  permanent 
change  would  be  undesirable,  as  in  a  hired  house  or  flat. 


DESIGN  No.  9. 
First-floor  Plan, 

1.  Entrance -hall;  2.  Living-ball,  18X20;  3.  Parlor,  14x20;  4.  Dining-room,  14X18: 
5.  Butler's  pantry;  6.  Kitchen,  14X16;  7.  Back  hall;  8,  8.  Verandas. — Estimated  cost, 
$6000. 

This  study,  which  was  suggested  by  a  house  designed  by  Mr.  Euther- 
ford  Meade,  of  this  city,  and  built 
for  Mr.  Herrick  at  Peekskill,  New 
York,  though  similar  to  that  man- 
sion in  outline,  differs  in  plan  and 
detail.  In  the  original,  there  are 
three  living-rooms  and  a  kitchen ; 
in  this,  however,  there  are  but  two 
living-rooms  proper,  but  a  hall, 
lighted  by  a  staircase  window,  is 
arranged  in  the  rear  of  the  house. 
Being  closed  from  the  vestibule 
by  a  screen,  it  is  sufficiently  re- 
tired to  make  a  pleasant  family- 
room,  and  is  rendered  the  more 
effective  by  the  staircase  bays  be- 
ing in  full  view  of  the  entrance. 
The  window,  being  placed  ob- 
liquely, has  ample  accommodation  for  plants  in  the  triangular  space  at 
the  corners,  without  interfering  with  the  landing. 

The  parlor,  entrance  -  hall,  and   dining-room   are  en  suite,  opening 


First-floor  Plim  of  Design  No.  9. 


70  MODERN  DWELLINGS. 

into  one  another  by  means  of  folding-doors.  The  butler's  pantry  is  spa- 
cious, with  a  dresser  for  china  running  across  the  rear.  It  might  be 
thought  that  the  dresser  would  interfere  with  the  windows,  as  this  is  the 
only  direction  from  which  light  can  be  obtained.  To  obviate  this  diffi- 
culty the  dresser  is  made  low,  which  renders  it  not  only  easy  of  access, 
but  leaves  space  for  the  windows,  which  are  placed  above.  By  this 
method  both  light  and  closet -room  are  secured  without  the  one  inter- 
fering with  the  other.  As  the  difficulty  of  reaching  the  windows  with- 
out a  ladder  still  exists,  they  are  arranged  to  open  and  shut  on  the  prin- 
ciple of  those  of  a  greenhouse,  which  work  by  the  turning  of  a  crank. 

A  recessed  balcony,  with  coved  ceiling,  opens  from  the  billiard-room 
in  the  attic.  The  exterior  of  the  house  may  be  painted  in  neutral  tints, 
with  darker  trimmings ;  the  shingled  gables  of  a  middle  tint,  produced 
by  an  equal  mixture  of  the  two  former ;  while  the  receding  part  of  the 
balcony  may  be  painted  in  stronger  colors,  the  coved  panels  being  of  ultra- 
marine blue,  relieved  by  trimmings  of  Indian  red. 


CHIMNEYS.  71 


CHAPTER  X. 

CHIMNEYS. 

Painting  Chimneys. — Chimneys  on  Exterior  of  Houses. — Draughts. — Security  against 
Fire. — French  System  of  laying  Floor  Beams. — Smoke  Flues. — Hot-air  Registers. 

HITHERTO  chimneys  have  been  treated  too  meagrely:  they  have 
invariably  been  low,  and  usually  too  narrow  and  thin ;  and  when 
attempts  were  made  at  embellishment,  they  were  placed  upon  a  clumsy 
base,  rendering  their  disproportion  only  the  more  apparent.  We  would 
advise,  unless  economy  be  an  object,  not  building  a  chimney  on  the  prin- 
ciple of  a  parallelogram,  but,  like  the  Gothic  column,  broken  up  into  dif- 
ferent members  or  shafts ;  in  fact,  each  flue  should  be  treated  separately, 
if  possible. 

Painting  chimneys,  and  brick -work  generally,  should  be  avoided. 
There  is  not  the  excuse  for  such  treatment  that  exists  in  buildings  of 
wood,  where  paint  is  necessary  for  their  preservation.  Brick  is  an  hon- 
est material,  and  when  of  a  good  color  appears  well.  Paint,  when  not 
used  as  a  protection,  has  the  appearance  of  covering  up  defects.  Indeed, 
we  think  it  as  absurd  to  color  brick-work,  as  to  besmear  cut  stone  with 
paint  or  whitewash.  There  are  other  legitimate  modes  of  relieving  brick, 
if  it  be  'thought  necessary.  The  introduction  of  stone  or  tile  makes  a 
very  pleasing  contrast,  as  also  bricks  of  different  color,  such  as  blue,  black, 
or  buff;  and,  if  used  sparingly,  they  do  much  to  relieve  the  monotony. 
Black  pointing  has  hitherto  been  considered  de  rigueur,  as  white,  in  the 
opinion  of  many  architects,  conveys  a  raw  and  disagreeable  effect.  This 
idea  can,  however,  be  carried  to  an  extreme,  as  white  pointing  may  often 
enliven  a  wall  which  might  otherwise  present  a  gloomy  appearance. 

Lateral  bands  are  usually  objectionable  in  the  treatment  of  chimneys ; 
their  lines  should,  as  far  as  possible,  be  vertical ;  and  now  that  moulded 
bricks  of  any  form  may  be  obtained,  different  varieties  may  be  grouped 
satisfactorily.  Plain  chimneys,  however,  may  appear  well  by  the  simple 
introduction  of  buff  or  black  bands.  Black  here  seems  to  harmonize  with 
any  color,  and  a  good  effect  may  be  obtained  with  but  little  cost.  Some- 
times buff  bands,  if  edged  with  black,  may  be  used  to  advantage. 


72  MODERN  DWELLINGS. 

Chimneys  show  their  purpose,  and  serve  as  a  relief  to  the  monotony, 
by  being  carried  up  on  the  exterior  of  the  walls.  They  not  only  form 
an  ornament  by  having  their  projections  on  the  outside,  but  save  room 
within. 

The  two  points  most  to  be  considered  in  the  construction  of  chimneys 
are,  first,  a  good  draught ;  and,  second,  security  against  fire.  The  greatest 
difficulty  with  which  we  have  to  contend  in  obtaining  a  draught,  is  that  of 
friction.  The  flue  should  be  made  as  smooth  as  possible  and  of  uniform 
size;  and,  as  smoke  ascends  spirally,  if  it  could  be  built  round,  like  a 
stove-pipe,  a  considerable  advantage  would  be  gained.  A  bend  or  turn 
also  serves  to  create  friction,  and  thereby  injures  the  draught. 

In  regard  to  danger  from  fire,  it  is  essential  that  the  wood -work 
should  be  kept  at  a  safe  distance  from  the  flue.  It  is  usually  the  custom 
to  have  but  four  inches  of  brick-work,  and  allow  the  timber  to  be  placed 
directly  against  it.  This,  especially  with  flues  that  are  overheated,  as  by 
a  range  or  furnace,  is  a  very  unsafe  method.  On  the  front  or  ends  of  a 
fireplace,  where  it  is  free  from  the  wood-work,  this  is  not  objectionable ; 
but  on  the  back,  against  which  the  studding  is  likely  to  be  placed,  not  less 
than  eight  inches  of  brick  should  be  considered  safe.  The  great  mistake 
with  builders  is  making  the  chimney  openings  too  small  in  framing,  so 
that  the  wood -work  comes  directly  against  the  masonry.  When  there 
are  but  four  inches  of  brick,  the  beams  should  be  placed  at  least  three 
inches  distant ;  and  if  but  one  inch  has  been  left,  it  is  well  to  fill  the 
space  with  plaster  of  Paris,  which  serves  as  a  non-conductor. 

Notwithstanding  our  being  in  constant  anxiety  as  to  the  danger  of 
having  our  buildings  destroyed  by  fire,  this  subject  has,  strange  to  say, 
heretofore  received  little  or  no  attention  in  our  country-houses,  and  we 
are  continually  erecting  tinder-boxes,  exposed  to  fire  from  stoves  and 
chimney  flues.  We  are  generally  satisfied  with  a  policy  of  insurance; 
and  although  fires  usually  occur  in  cold  weather,  we  do  not  appear  to  con- 
sider the  loss  of  a  home,  or  the  misery  of  being  turned  out-of-doors  dur- 
ing a  wintry  storm.  The  children  and  the  infirm  may  be  driven  from 
their  beds  without  clothing,  or  may  be  stifled,  and  perhaps  lose  their  lives. 
Money,  of  course,  is  a  great  soother  in  case  of  loss ;  but  how  many  things 
are  there  endeared  to  us  by  old  associations  which  are  impossible  to  re- 
place ! 

In  our  cities  we  are  compelled  by  law  to  build  houses  somewhat  with 
reference  to  the  prevention  of  the  spread  of  fire.  Not  that  the  houses 
themselves  cannot  be  destroyed,  but  we  are  obliged  to  build  part  of  the 
walls  heavy ;  so  that  in  case  our  own  dwelling  is  consumed,  those  of  our 


CHIMNEYS. 


73 


neighbors  may  escape.    Would  it  not  be  well,  therefore,  in  this  nineteenth 
century,  to  do  something  to  prevent  the  constant  recurrence  of  fire  ? 

Professor  Chandler,  of  Columbia  College,  at  an  Architectural  Con- 
vention held  at  Delmonico's,  related  the  following  incident :  Some  years 
ago,  while  seated  comfortably  at  dinner  in  Paris,  the  alarm  of  fire  was 
raised  in  the  building.  With  his  American  ideas  that  the  entire  structure 
must  be  in  danger,  he  took  his  hat,  and  hurried  with  all  speed  into  the 
porte,  expecting  every  minute  to  see  the  steam  fire-engines  approach, 
and,  as  a  consequence,  a  deluge  of  water,  smashing  of  windows,  and  a 
grand  rumpus  generally.  But,  to  his  astonishment,  very  little  excitement 
prevailed,  and  no  engines  made  their  appearance.  The  simple  and  prim- 
itive system  of  extinguishing  fires — that  of  passing  leather  buckets  of  wa- 
ter— was  resorted  to,  and  was  sufficient;  and  although  the  smoke  issued 
in  considerable  volumes  from  one  of  the  windows,  he  could  not  see  that 
the  fire  was  making  any  headway.  It  was  actually  confined  to  the  apart- 
ment in  which  it  originated,  and  died  away  almost  of  itself,  after  the  com- 
bustible material  in  the  room  had  been  burned. 


Design  No.  10. 


This  was  before  the  depredations  by  the  Commune.  But  when  those 
Vandals  attempted  to  burn  the  city,  and  hundreds  of  barrels  of  petroleum 
were  used,  still  it  was  almost  impossible  to  induce  the  conflagration  to  ex- 
tend beyond  a  single  building.  In  fact,  there  seems  to  be  little  or  no 
dread  of  fire  in  European  countries,  simply  because,  in  putting  up  their 


74  MODERN  DWELLINGS. 

buildings,  special  care  is  taken  to  render  them  fire -proof.  Even  their 
country  buildings  are  not  only  composed  of  stone,  but  the  cellars  are 
vaulted,  the  interior  partitions  are  of  brick,  and  the  roofs  and  floors  are 
generally  made  of  iron,  cement,  and  tile.  The  exterior  walls,  instead  of 
being  furred  to  prevent  the  dampness  striking  through,  are  built  hollow, 
with  the  plaster  put  directly  on  the  brick-work. 

A  system  laid  down  by  Viollet  le  Due  demands  that  the  floor  beams 
be  made  square  and  placed  in  the  walls  diagonally.  The  upper  sides,  by 
this  arrangement,  are  made  to  slope,  and  serve  as  a  skew-back  for  brick 
arches  between  the  beams.  These  are  cemented  over,  forming  a  flat  sur- 
face to  receive  the  floor  boards  or  tiling,  while  the  underside  is  plastered 
directly  upon  the  bricks,  forming  a  corrugated  ceiling,  and  presenting  a 
constructive  appearance.  This  is  easily  decorated,  and  is,  at  the  same 
time,  thoroughly  fire-proof. 

Our  system  of  placing  the  floor  joists  edgewise,  with  plaster  beneath 
and  boards  above,  besides  showing  a  false  construction,  allows  each  space 
not  only  to  act  as  a  paradise  for  rats,  but  also  to  prove  most  dangerous 
in  case  of  fire,  as  a  flue.  If  we  must  continue  building  these  fire-traps, 
there  is  no  doubt  something  should  be  done  to  make  our  houses  some- 
what more  secure. 

After  the  joists  are  laid,  instead  of  stupidly  filling  them  in  with  mor- 
tar an  inch  or  two  deep,  which  serves  no  other  purpose  than  that  of  deaf- 
ening sound,  let  us  enclose  these  timbers,  as  well  as  the  underside  of  the 
floor  boards,  with  a  coating  of  plaster  of  Paris,  and  then  use  wire-cloth 
on  the  underside  of  the  floor  beams,  which  answers  as  an  excellent  substi- 
tute for  lath.  To  prevent  the  spaces  acting  as  channels  for  fire,  let  both 
ends  be  enclosed  with  a  slab  of  rooting  slate,  which  can  be  easily  imbedded 
in  the  plaster  of  Paris.  This  also  prevents  the  entrance  of  rats. 

Apropos  to  the  subject  of  isolating  smoke  flues,  we  would  also  call  at- 
tention to  the  necessity  of  protecting  the  wood -work  from  the  hot-air 
flues  of  the  furnace.  These  are  frequently  run  through  floors  and  stud 
partitions  in  the  most  reckless  manner,  without  any  arrangement  being 
made  to  prevent  their  scorching  and  eventually  setting  fire  to  the  wood- 
work. Where  these  flues  come  in  contact  with  this  material,  it  is  always 
well  to  make  them  double,  allowing  a  space  between  to  be  filled  in  with 
plaster  of  Paris  or  brick,  by  which  means  a  greater  degree  of  safety  is 
secured.  Another  and  perhaps  more  simple  mode  is  to  cover  the  exposed 
timber  with  tin,  and,  instead  of  wood,  iron  lath  may  here  be  used.  By 
this  means  the  flues  may  be  made  larger  and  also  less  expensive,  on  ac- 
count of  their  not  being  double. 


CHIMNEYS. 


75 


Register  boxes,  also,  should  be  protected  by  a  skirting  of  soapstone  let 
into  the  floor,  and  beams  should  never  be  permitted  to  abut  against  a  hot- 
air  flue.  As  for  the  building  of  timbers  into  chimneys,  it  should  be  re- 
garded as  a  crime  ranking  with  that  of  incendiarism  or  arson. 


DESIGN  No.  10. 
First-floor  Plan. 

1.  Entrance  porch ;  2.  Vestibule;  3.  Lavatory;  4.  Water-closet;  5.  Main  hall,  13|X26; 
6.  Diuiug-roonj,  16X21;  7.  Butler's  pantry;  8.  Kitchen,  17x19;  9.  Kitchen  pantry; 
10.  Back  hall;  11.  Library,  15X17;  12.  Sitting-room,  17X24;  13.  Veranda.— Esti- 
mated cost,  $8500. 

This  cottage,  designed  for  some  picturesque  site  where  the  scenery  is 
of  a  varied  character,  is  irregular  in 
plan  and  somewhat  broken  in  sky 
lines,  in  order  to  be  in  greater  har- 
mony with  the  natural  objects  amidst 
which  it  is  placed. 

However  plain  a  structure  may 
be,  it  is  well  to  have  some  little  ex- 
travagance in  a  prominent  part,  to 
which  the  rest  of  the  work  may  ap- 
pear subordinate. 

In  the  present  instance,  I  have 
selected  the  column  at  the  entrance ; 
and  as  there  is  but  one,  we  can  af- 
ford to  have  this  of  the  best ;  there- 
fore let  the  shaft  be  of  polished 
Scotch  granite,  and  the  capital  and  base  of  marble  richly  carved  in  foli- 
age pertaining  to  the  locality. 

There  are  four  rooms  on  the  first  story,  five  on  the  second,  and  four  on 
the  third.  The  sitting  and  dining  rooms  are  placed  opposite  each  other. 
The  main  hall  is  roomy,  and  may  be  also  used  as  a  sitting-room,  being  but 
slightly  reduced  in  size  by  the  stairs.  These  occupy  an  alcove  of  their 
own,  and  protrude  into  the  hall  only  so  far  as  to  show  agreeably,  without 
taking  up  too  much  space.  We  should  strongly  object  to  having  the 
staircase  entirely  shut  off  from  the  hall,  as  it  seems  to  belong  to  it  by  old 
association,  and  to  suggest  invitingly  that  there  are  comfortable  apart- 
ments above.  So,  too,  the  superseding  of  the  spacious  fireplace  and 


First-floor  Plan  of  Design  Xo.  10. 


76 


MODERN   DWELLINGS. 


hearth-stone  in  our  family  sitting-room  by  the  modern  hot-air  furnace  is 
an  abomination  grievous  to  be  borne  by  those  who  remember  fondly  that 

ancient  symbol  of  domestic  union 
and  genial  hospitality.  Indeed,  if 
our  means  would  allow,  I  should  pre- 
fer to  have  a  fireplace  in  the  hall 
itself ;  and  instead  of  the  little,  nar- 
row, hard-coal  grate,  with  the  inev- 
itable marble  mantle  surmounting 
it,  a  generous,  old-fashioned  open 
chimney,  large  enough  to  sit  in  if 
one  so  desired.  But  in  a  house  of 
this  size  such  a  chimney  would  re- 
quire too  much  space ;  and  I  have 
preferred  to  carry  out  the  idea  in 
larger  dwellings,  as  represented  in 
some  of  the  designs  that  follow  else- 
where in  this  volume. 

A  gentleman,  by  frequent  com- 
munication with  his  architect,  nec- 
essarily, to  a  great  extent,  imprints 
his  own  character  upon  his  house. 
This  is  one  of  the  most  important 
aesthetic  ends  of  the  art,  and  proves 
how  possible  it  is  to  express,  in  the 
construction  of  a  dwelling,  even  the 
most  delicate  idiosyncrasies  of  hu- 
man character.  It  is  the  duty  of 
the  architect  to  study  the  desires 
and  needs  of  his  client,  and  to  man- 
age the  design  in  all  its  parts,  so  as  to  fit  into,  and  harmonize  with,  the 
lives  to  be  spent  under  its  roof. 

The  house  we  are  considering  will,  we  think,  at  once  impress  the  be- 
holder with  the  conviction  that  it  is  the  habitation  of  a  gentleman  of 
small  family  and  means,  yet  possessing  education  and  refinement,  and  an 
appreciation  so  delicate  for  the  scenery  amidst  which  he  lives,  that  he 
would  have  his  very  dwelling-place  in  harmony  with  it. 

The  library,  occupying  the  central  portion  of  the  house,  would  nat- 
urally be  his  favorite  room.  From  it  he  can  easily  approach  his  drawing- 
room  on  the  one  side  and  his  dining-room  on  the  other.  Evidently  he  is 


Vignette  of  Design  No.  10. 


CHIMNEYS.  77 

rather  a  man  of  nice  literary  taste  than  a  close  student,  for  this  apartment 
is  too  liable  to  intrusion  and  household  noise  to  serve  the  purpose  of  a 
study,  strictly  so  considered.  The  size  of  his  drawing-room  indicates  his 
fondness  for  society,  and  the  arrangement  of  the  folding-doors,  by  which 
the  entire  first  story  may  be  thrown  into  one  apartment,  gives  evidence  of 
generous  hospitality  and  large  social  qualities. 

The  vignette  shows  the  two-story  bay-window  on  the  parlor  side  of  the 
house.  This  may  appear  somewhat  peculiar,  as  the  first  story  is  octagonal 
and  the  second  square.  This  digression  is  pleasing  from  its  variety,  and 
was  very  common  in  buildings  of  the  Queen  Anne  period. 


78  MODERN  DWELLINGS. 


CHAPTEE   XL 

COST  OF  HOUSES. 
Miscalculation  of  Expense. — Simple  Rule  for  making  Estimates. 

"  TT^OOLS  build  houses,  and  wise  men  live  in  them,"  is  a  trite  and  famil- 
-L  Jar  saying,  and  certainly  has  not  lost  its  appositeness  in  the  present 
day.  We  are  too  much  in  the  habit,  in  this  country,  of  going  beyond  our 
means  in  building.  This,  in  a  great  measure,  arises  from  ignorance  by  no 
means  confined  to  novices,  for  many  shrewd  business  men  are  deceived  in 
this  respect.  Why  is  it  that  a  man  having  determined  upon  an  expendi- 
ture of  seven  thousand  dollars  finds  his  completed  residence  to  have  cost 
him  ten,  or  even  more  ?  When  a  man  intends  building,  he  begins  to 
"  count  the  cost,"  and  decides  how  much  he  will  expend.  He  then  usual- 
ly sketches  his  idea  of  the  general  arrangement  and  the  amount  of  accom- 
modation necessary  for  his  family,  and  settles  himself  down  to  the  belief 
that  these  ideas  may  be  carried  out  within  his  original  notions  of  limit. 

I  have  frequent  application  from  persons  whose  means  are  small,  to 
build  houses  of  such  character  and  dimensions  as  none  but  the  rich  should 
think  of  attempting,  and  they  consider  it  very  hard  when  they  ask  for  a 
design  of  a  most  extravagant  character,  and  give  an  exceedingly  low  figure 
as  the  price  they  intend  to  pay,  to  find  that  the  two  are  entirely  incom- 
patible. They  frequently  give  no  figure  at  all,  and  are  much  astonished, 
when  the  plans  are  completed,  to  find  the  estimates  far  exceed  their  limit. 
In  this  manner,  persons  not  infrequently,  in  having  their  houses  built  by 
the  day,  never  realize  the  cost  of  the  work  until  it  is  done.  When  it  is 
too  late,  they  discover,  to  their  amazement,  that  the  expenditure  has  over- 
run their  estimate  fifty,  and  sometimes  a  hundred,  per  cent. ;  and  the  re- 
sult is  that  but  a  portion  is  paid  for,  the  remainder  being  left  on  mort- 
gage, whereby  their  income,  as  well  as  their  principal,  is  assailed.  This 
sometimes  works  well  enough.  So  long  as  business  is  brisk,  the  extra 
interest  is  not  felt;  but  when  troubles  come,  and  business  is  depressed, 
the  owner  finds  great  difficulty  in  making  both  ends  meet ;  and  if  it  were 
not  for  the  encumbrance  already  upon  his  place,  he  might  not  only  save 


COST  OF  HOUSES. 


7'.' 


the  interest,  but  find  his  dwelling  a  convenient  medium  for  obtaining 
loans.  Frequently  it  becomes  necessary  to  dispose  of  it  altogether;  and 
at  such  times  our  proverb  is  verified,  for  the  wise  men  are  ready  to  pick 
up  for  a  trifle  what  has  cost  the  embarrassed  owner,  besides  a  large  sum 
of  money,  an  endless  amount  of  trouble  and  vexation. 

There  is  no  greater  misdemeanor  on  the  part  of  an  architect  than  to 
lead  a  client  to  believe  that  a  building  may  be  constructed  at  a  certain 
cost,  when,  in  reality,  it  must  far  exceed  that  amount.  We  cannot  imag- 
ine any  professional  man  of  standing  being  guilty  of  such  deception.  It 
is  frequently  the  case,  however,  that  when  a  design  is  offered  which  the 
architect  honestly  believes  can  be  executed  for  a  given  sum,  the  owner 
is  continually  making  alterations  or  expensive  additions — matters  which, 
though  perhaps  small  in  themselves,  amount  to  a  formidable  bill  of  ex- 
tras in  the  end.  Often,  as  mentioned  above,  nothing  is  said  about  the 
expense.  In  one  instance  where  application  was  made  to  an  architect 
by  a  wealthy  client  to  design  a  residence  of  considerable  pretension,  in 
order  that  he  might  not  be  disappointed  in  the  cost,  the  architect  con- 
cluded to  ask  him  frankly  what  amount  he  expected  to  spend,  and  was 
answered  about  $20,000.  He  assured  the  gentleman  that  the  building 
could  not  be  carried  out  in  the  spirit  of  the  design  for  that  sum,  and  ad- 
vised him  either  to  reduce  his  ideas  or  be  prepared  for  a  greater  outlay. 


Design  No.  11. 

The  client  sarcastically  remarked  that  he  was  aware  that  it  was  to  the 
architect's  advantage  to  run  up  the  cost,  not  only  to  make  a  reputation  for 
himself,  but  to  swell  his  commissions,  and  that  he  need  go  no  further  until 


80 


MODERN  DWELLINGS. 


Balcony  from  Within,  in  Design  No.  11. 


the  matter  had  been  thought  over.  The  following  day  brought  a  letter 
announcing  that  he  had  consulted  with  another  architect,  who  had  con- 
firmed his  ideas  regarding  the  cost,  and  he  had  placed  the  matter  in  his 

hands.  The  one  consulted  in  the 
first  instance,  though  suffering  the 
loss  of  his  commission,  had  the  satis- 
faction, after  the  building  was  com- 
pleted, of  receiving  an  apology  from 
the  gentleman,  who  stated  that  the 
house  had,  in  reality,  cost  a  sum  far 
beyond  the  original  estimate,  adding 
the  friendly  assurance  that  the  loss 
the  architect  had  sustained  on  that 
occasion  would  be  made  up  by  the 
confidence  he  had  inspired.  The 
result  was  that  this  gentleman  re- 
mained thereafter  one  of  his  best 
friends  and  most  valuable  clients. 

It  is  often  imagined  by  those 
who  desire  to  build  economically 
that  beauty  is  an  extravagance  in  which  they  cannot  indulge,  and  therefore 
that  a  cheap  cottage  can  have  no  pretension  to  elegance,  and  must  barely 
suffice  for  the  comfort  and  shelter  of  its  occupants;  and  no  higher  aim 
is  attempted.  This  error  arises  from  the  false  but  prevalent  idea  that 
beauty  and  grace  are  extraneous  considerations,  rather  matters  of  ornament 
than  of  proportion  and  symmetry.  For  this  reason,  many  small  houses, 
whose  owners  wish  them  objects  of  taste,  are  loaded  down  with  unmean- 
ing and  expensive  decorations,  or  so  frittered  away  with  cheap  and  ready 
expedients  of  boards  sawed,  cut,  and  otherwise  tortured  into  utter  useless- 
ness  and  absurdity,  that  the  entire  building  becomes  subordinate  to  its 
appendages,  and  the  arrangement  of  its  important  masses  is  lost  sight  of. 

When  the  architect  is  called  upon  to  design  a  very  cheap  building,  he 
must  be  content  to  express  his  art  in  the  fitness  and  proportion  of  all  its 
parts ;  and  he  should  combine  beauty  with  the  strictest  utility. 

There  is  a  simple  rule  which  enables  any  one  to  approximate  the  cost 
of  a  house  he  intends  to  build.  It  is  to  find  one  of  the  general  character 
and  finish  of  that  proposed,  to  calculate  the  number  of  cubic  feet  it  con- 
tains from  the  basement  floor  to  the  top  of  the  roof,  and  to  divide  the 
cost  of  the  building  by  its  number  of  feet,  which  gives  the  price  per  foot. 
Tin's,  for  a  simple  rule,  is  perhaps  more  reliable  than  any  other  wrhere  a 


COST  OF   HOUSES. 


81 


regular  estimate  is  not  made ;  but  it  should  not  be  confided  in  too  im- 
plicitly where  the  finish  and  little  extras  known  as  "modern  improve- 
ments" are  concerned.  Another  thing  that  should  be  taken  into  con- 
sideration is,  that  the  house  upon  which  the  calculations  are  based  was 
built  at  a  time  when  the  prices  of  labor  and  material  were  similar. 


DESIGN  No.  11. 
First-floor  Plan. 

1.  Vestibule;  2.  Staircase  hall;  3.  Parlor,  15x25;  4.  Library,  15x19;  5.  Dining-room, 
15X18;  6.  Butler's  pantry;  7.  Store-room;  8.  Kitchen,  15X16;  9.  Back  hall  aucl 
stairway;  10.  Veranda,  15X17;  11.  Library  balcony. — Estimated  cost,  $8000. 

This  design  is  of  somewhat  larger  character  than  those  previously 
described.  The  rooms  are  of  good  size,  with  a  spacious  vestibule,  from 
which,  if  the  main  hall  is  used  as  a 
sitting-room,  the  library  and  parlor 
may  be  entered  direct.  The  chim- 
neys in  hall,  dining-room,  and  library 
are  grouped  together,  so  that  they 
may  be  carried  up  in  a  single  shaft — 
a  matter  not  only  of  economy  in  con- 
struction, but  in  winter  (when  fires 
are  required  in  the  living-rooms)  all 
the  heat  may  be  thereby  retained. 
The  kitchen  chimney  is  so  arranged 
as  not  to  heat  the  house  in  the  sum- 
mer. The  staircase  landing  is  light- 
ed by  the  triplet  window  of  stained 
glass.  Under  the  landing  is  a  lav- 
atory, which  is  approached  by  de- 
scending a  few  steps  from  the  back 
hall.  From  this  there  is  an  exit, 
which  is  on  a  level  with  the  main  grade,  and  also  serves  as  a  rear  en- 
trance to  the  kitchen.  Here,  again,  the  veranda  is  arranged  on  the  porch 
system,  being  about  fifteen  feet  square ;  while  the  balcony  from  the  sec- 
ond story  is  grouped  in  with  the  porch,  and  sheltered  by  the  same  roof. 
There  is  an  opening  to  the  front  from  the  upper  balcony ;  while  the  side, 
acting  as  a  gallery,  is  in  communication  with  the  porch  below,  as  seen  in 
the  vignette  on  the  preceding  page. 

6 


First-floor  Plan  of  Design  No.  11. 


MODERN  DWELLINGS. 


CHAPTER  XII. 

ARCHITECTS'   DUTIES   AND   CHARGES. 

American  Institute  of  Architects. — Preliminary  Sketches. — Plans. — Specifications. — De- 
tail Drawing. — Supervision.. — Speculative  Building. 

WHEN  a  person  is  sick,  it  is  customary  to  seek  the  advice  of  a  doctor ; 
and  having  confidence  in  his  ability,  it  would  be  the  height  of  folly 
not  to  follow  it.  Now,  an  architect  should  stand  to  his  client  in  very 
much  the  same  relation  as-  the  physician  to  his  patient ;  but  instead  of 
the  client  going  to  the  architect  and  asking  what  he  ought  to  do,  he  gen- 
erally tells  him  what  he  is  going  to  do — writing,  as  it  were,  his  own  pre- 
scription for  the  doctor  to  fill,  or  laying  down  the  law  to  his  lawyer.  An 
architect  who  is  accomplished  in  his  profession  has  studied  quite  as  hard, 
and  learned  as  much  by  research  and  experience,  as  one  of  any  other  pro- 
fession ;  but  the  fact  that  he  is  so  trammelled  by  the  obstinate  whims  of 
ignorant  clients  is  the  reason  why  he  may  fail  in  what  might  otherwise 
have  been  a  successful  effort. 

With  persons  who  attach  so  little  value  to  professional  skill,  it  might 
become  a  question  as  to  the  propriety  of  employing  an  architect  at  all— 
whether  his  scientific  aid,  artistic  design,  or  administrative  control  of  ex- 
penditure be  worth  his  commission.  In  such  cases,  perhaps,  it  may  be  as 
satisfactory  for  one  to  get  up  his  own  design,  leaving  the  practical  work- 
ing of  the  plan  to  his  builder.  Such  was  not  un frequently  the  case  in 
times  gone  by;  but  now  it  seems  to  be  generally  conceded  that  the 
architect's  skill  is  not  only  important,  but  necessary,  as  the  combina- 
tions of  builder  and  architect  are  becoming  less  and  less  common.  In 
fact,  the  typical  builder  is  continually  growing  to  be  more  of  a  mere 
contractor,  ceasing  even  to-  supply  the  knowledge  of  his  craft  except 
through  tlie  medium  of  his  foreman,  and,  as  professional  skill  advances, 
lie  is  left  far  behind.  Some  years  ago  there  was  but  little  affiliation  on 
the  part  of  the  architects,  each  seeming  to  be  suspicious  of  the  other,  and 
each  apparently  willing  to  take  advantage  of  his  neighbor.  The  builder 
architect,  in  the  public  estimation,  ranked  the  same  as  the  professional, 
and  they  were  loud  in  boasting  of  the  superiority  of  the  practical  man 


ARCHITECTS'   DUTIES  AND  CHARGES.  83 

over  the  one  who  simply  knew  how  to  make  pictures.  It  was  not  sur- 
prising, under  this  condition  of  things,  that  the  moral  standard  of  the 
profession  was  at  a  low  ebb,  and  that  there  were  many  so-called  architects 
who  made  a  practice  of  obtaining  business  through  a  systertk  of  under- 
bidding, charging  less  than  the  services  of  a  competent  avchitect  were 
worth,  and  making  up  the  deficiency  by  taking  commissions  from  the 
other  side,  who,  in  turn,  expected  to  reap  their  reward  by  the  architect's 
accepting  inferior  work  at  an  excessive  charge.  By  this  means  the  own- 
ers were  doubly  defrauded ;  and  while  they  imagined  they  were  saving 
money  by  employing  an  architect  at  one-half  the  usual  commission,  they 
were  indirectly  paying  three  or  four  times  as  mnch,  and  getting  in  re- 
turn inferior  service.  In  fact,  so  low  had  sunk  the  name  of  architect, 
that  the  public  had  begun  to  look  upon  it  with  suspicion,  until  it  became 
necessary  that  the  honorable  members  of  the  profession  should  band  them- 
selves together  for  mutual  protection.  Thus  they  determined  to  establish 
an  institute  which  should  be  responsible  for  the  honor  of  its  members, 
and  see  that  their  employers  were  fairly  dealt  with.  It  was  resolved 
that  no  member  should  accept  any  commission  outside  that  of  his  em- 
ployer, and  that  he  should  charge  a  sum  that  would  fairly  pay  him  for 
his  work — that  is,  five  per  cent,  on  the  entire  cost  of  the  building.  This 
on  some  things  seemed  high,  and  on  others  proportionately  low ;  but  as 
the  profession  in  all  other  civilized  countries  had  for  many  years  consid- 
ered five  per  cent,  a  fair  average,  the  American  Institute  of  Architects 
established  this  as  their  rate  on  all  work  exceeding  five  thousand 'dollars. 
To  this  percentage  when  the  building  is  remote  from  th6  city,  travelling 
and  hotel  expenses  are  to  be  added. 

The  reason  that  many  think  this  a  high  charge  arises  from  their  igno- 
rance of  the  work  performed  by  the  architect.  Some  even  think  that  a 
mere  sketch,  or  preliminary  drawing,  is  all  that  is  necessary ;  and  although 
this  embodies  the  entire  expression  or  idea  of  the  subject,  the  practical 
work  is  not  yet  commenced.  The  plans  have  to  be  drawn  with  such  ex- 
actness that  every  stone  and  each  timber  are  considered,  and  every  de- 
tail studied  out  carefully ;  and  these,  when  completed,  in  no  way  convey 
to  the  uninitiated  an  idea  of  the  amount  of  labor  and  calculation  re- 
quired. Then  the  specifications  in  the  same  way  have  to  describe  every 
detail  in  the  most  minute  manner ;  so  that  when  the  contract  is  taken 
there  may  be  no  chance  of  extras.  It  is  generally  supposed  that  when 
all  this  is  accomplished  the  office  labors  are  ended.  Little  is  known  of 
the  amount  of  work  involved  in  what  are  called  detail  drawings,  in  which 
every  portion  of  the  building  has  to  be  drawn  out  full  size.  In  a  struct- 


84:  MODERN  DWELLINGS. 

ure  of  any  magnitude,  these  drawings  often  cover  from  fifty  to  a  hun- 
dred sheets,  each  containing  from  fifteen  to  twenty  superficial  feet.  After 
these  are  completed  and  the  work  under  way,  the  architect  is  obliged  to 
superintend  the  building  from  beginning  to  end.  Not  only  has  he  to  see 
that  each  party  performs  his  contract,  and  to  give  the  certificate  of  pay- 
ments, but  there  are  continual  emergencies  arising  wherein  his  adjustment 
is  necessary,  in  making  the  different  trades  fit  in  and  work  harmoniously. 
It  being  advisable  to  have  a  separate  contract  for  each  specialty,  the  arch- 
itect's duties  involve  the  scope  of  artist,  lawyer,  engineer,  etc. 

In  making  the  preliminary  studies,  too,  much  more  labor  is  expended 
than  would  appear ;  for,  in  arranging  the  groupings  and  f oreshortenings, 
it  is  necessary  that  each  elevation  should  be  studied  in  perspective,  in  or- 
der that  the  artist  himself  may  feel  satisfied  that  his  work  will  appear  in 
proper  proportion  from  every  point  of  view. 


I »c-i'_'M  No.  12. 

Some  of  our  city  buildings  are  specimens  of  what  was  formerly  done 
by  the  tyros  of  whom  we  have  spoken;  and  even  at  the  present  time  they 
are,  in  their  arrangement,  far  behind  those  of  similar  pretensions  in  the 
country.  The  back  staircase,  the  lavatory,  and  cloak-room  are  seldom 
seen.  The  bedrooms  are  of  the  most  hap -hazard  kind,  as  regards  their 
possibility  of  furnishing.  Then,  as  for  the  domestic  offices,  they  are  fre- 


ARCHITECTS'  DUTIES  AND   CHARGES.  85 

quently  dark,  ill  ventilated,  and  musty.  If  a  house  happen  to  be  on  a 
corner,  instead  of  the  rooms  taking  advantage  of  this  exposure  and  light, 
it  is  an  even  chance  that  the  staircase  and  hall  are  located  here.  Even 
when  such  errors  have  become  apparent,  block  after  block  is  erected  with 
little  or  no  improvement. 

No  doubt  the  chief  cause  of  these  shortcomings  is  that  city  houses, 
instead  of  being  built  by  their  occupants,  are  put  up  almost  entirely  by 
speculators,  frequently  irresponsible,  and  often  most  ignorant,  who  have 
very  little  idea  of  the  refinement  of  living,  and  consider  that  a  person  who 
can  scarcely  write  his  name  is  competent  to  draw  a  plan.  The  more  igno- 
rant these  designers  are,  the  more  cheaply  their  services  may  be  had,  which 
is  an  obvious  reason  why  draughtsmen  of  this  class  are  so  popular;  and  the 
consequence  is,  a  competent  architect  is  seldom  employed  in  this  sort  of 
building.  It  has  been  discovered  of  late — the  speculator's  theory  to  the 
contrary  notwithstanding — that  where  the  best  arrangements  are  executed 
with  the  highest  skill  and  first-class  material,  they  yield  a  profit  to  the 
owner  far  in  advance  of  these  flimsy  and  inartistic  structures. 

Messrs.  Duggin  &  Grossman,  of  this  city,  have  demonstrated  this  the- 
ory ;  and  a  large  number  of  first-class  dwellings,  conveniently  arranged 
with  admirable  appointments  and  superior  workmanship,  have  given  them 
such  a  reputation  that  the  fact  of  a  building  constructed  by  them  en- 
titles it  to  command  a  much  larger  price  than  others  of  perhaps  greater 
pretensions. 

It  may  be  thought  difficult,  where  discrepancies  already  exist,  to  have 
them  repaired.  There  is  no  question  but  that,  in  starting  a  new  building, 
there  is  much  greater  chance  in  a  good  architect's  securing  a  happy  result. 
Yet  many  existing  difficulties  may  be  overcome  by  the  master's  hand. 
The  accommodations  spoken  of  in  the  country-house  may  be  added ;  light 
may  be  admitted,  ventilation  improved  ;  and  the  house,  instead  of  being  a 
dark,  musty  abode,  may  assume  a  freshness  and  cheerfulness  which  will 
add  greatly  to  the  comfort  of  the  family. 

Where  bedrooms  are  concerned,  it  is  seldom  that  a  skilful  architect 
need  hesitate  to  promise,  without  anything  like  structural  derangement 
or  heavy  expense,  a  transformation  which  will  double  the  convenience  of 
that  portion  of  the  house.  Sometimes  the  addition  of  another  story  will 
literally  double  the  capacity  of  a  house ;  for  it  is  evident  that  the  same 
living-rooms  and  domestic  offices  will  serve  equally  a  large  or  small  fam- 
ily, if  the  sleeping  accommodations  are  sufficient.. 


MODERN  DWELLINGS. 


DESIGN   No.  12. 
First-floor  Plan. 

1.  Carriage  porch;  2.  Veranda;  3.  Maiu  Lall;  4.  Dining-room,  15X20;  5.  Library,  15X15; 
6.  Parlor,  15  X  18 ;  7.  Butler's  pantry;  8.  Store-room;  9.  Kitchen,  14  X  15;  10.  Back 
ball ;  11,  Kitchen  pantry ;  12.  Servants'  porch ;  13.  Conservator}'. — Estimated  cost,  $8000. 

In  this  design  we  have  three  rooms,  besides  a  greenhouse  and  a  kitchen 
on  the  first  story.  The  rooms  are  placed  opposite,  allowing  the  breeze 
to  circulate  unobstructed  through  the  living  rooms  of  the  house.  The 

veranda,  being  exposed  to  the  morn- 
ing sun,  is  protected  by  an  awning, 
which,  while  affording  ample  shade, 
is  at  such  an  elevation  as  not  to  cut 
off  the  view.  This  awning  can,  of 
course,  be  raised  when  the  sun  has 
retreated  so  as  to  leave  the  piazza  in 
the  shade. 

It  will  be  observed  that  the  chim- 
neys come  in  the  corner  of  the  rooms. 
There  is  often  an  advantage  gained 
in  such  digressions  from  stereotyped 
customs,  as  they  can  be  treated  as 
agreeable  and  novel  features,  and,  if 
thought  advisable,  the  opposite  cor- 
ners may  be  made  to  correspond,  as 
shown  in  our  plan  of  the  library.  Yet 
we  have  no  hesitation  in  accepting 
the  situation,  and  coming  out  boldly  with  this  corner  treatment,  and  aban- 
doning symmetry,  especially  when  there  is  an  evident  motive.  The  ob- 
ject in  this  case  is  to  bring  the  chimneys  together  in  the  attic,  so  as  to 
unite  on  the  roof  in  a  single  stack. 

One  of  the  most  important  features,  and  one  peculiarly  susceptible  of 
bold  and  artistic  treatment,  is  the  main  staircase.  In  the  present  instance, 
as  shown  in  the  vignette,  it  is  at  the  end  of  the  hall.  The  first  landing 
being  raised  but  six  steps,  gives  the  appearance  of  an  elevated  gallery  or 
dais,  beyond  which,  and  agreeably  terminating  the  vista,  there  is  a  spacious 
greenhouse.  The  principal  newel  is  plain,  and  is  surmounted  by  an  ap- 
propriate gas  standard.  The  niche  between  the  flights,  not  serving  as 
a  passage,  is  occupied  by  a  seat  of  simple  construction,  covered  with  an 


First-floor  Plan  of  Design  No.  12. 


ARCHITECTS'   DUTIES  AND  CHARGES. 


87 


Miliu  Stuircu»e,  Design  No.  12. 


ornamental  leather  cushion.  Through  the  door  at  the  right  we  pass 
down  six  steps  to  a  lavatory,  beyond  which,  under  the  greenhouse,  is  a 
billiard-room.  This  may  be  consid- 
ered somewhat  objectionable  on  ac- 
count of  the  dampness  from  the  wa- 
tering of  plants;  and  unless  great 
care  be  taken  to  keep  the  ceiling 
thoroughly  water-tight,  it  would  be 
better  to  have  the  billiard-room  in 
some  other  position,  and  use  the 
space  as  a  potting-roorn  or  general 
workroom  connected  with  the  green- 
house. 

This  is  another  example  of  how 
a  simple  square  cottage  may  be  made 
picturesque,  without  any  straining 
after  effect.  Each  line  seems  to  fall 
naturally  into  its  place,  and  the  whole 
appears  a  legitimate  outgro\vth  of  the  requirements  suggested  by  the  pe- 
culiarities of  our  climate. 

It  is  often  remarked  that  these  broken  and  irregular  roofs  are  pretty 
enough  to  look  at,  but  very  uncomfortable  to  live  under.  This  is  because 
the  ceilings  of  the  second  story  are  frequently  cut  off  and  made  to  fol- 
low the  sloping  lines  of  the  roof,  so  as  to  interfere  with  the  head ;  and 
being  directly  on  the  rafters,  there  is  not  sufficient  space  to  protect  the 
room  from  the  external  changes  of  heat  and  cold.  But  these  inconven- 
iences are  far  from  being  unavoidable.  They  are  simply  builders'  blun- 
ders, and  can  always  be  avoided  in  a  well-studied  plan.  The  roof  in  this 
design  not  only  permits  the  second-story  rooms  to  be  square,  but  serves  as 
a  protection  from  heat  and  cold  by  covering  the  triangular  space  over  the 
veranda,  which  may  be  readily  utilized  as  closets. 

The  attic  has  a  similar  protection  in  a  loft,  which  is  lighted  and  ven- 
tilated by  louver  boards  in  the  peak.  This  may  be  roughly  floored  and 
used  as  a  storage  or  trunk  room. 

One  of  the  most  effective  and  convenient  features  of  this  design  is  the 
recessed  balcony  coining-  under  the  main  roof.  This  to  the  chamber  is 
like  the  veranda  to  our  living-room,  where  in  pleasant  weather  much  of 
our  time  may  be  spent. 


88 


MODERN  DWELLINGS. 


CHAPTER  XIII. 

PLUMBERS'    BLUNDERS. 
The  Overflow  of  Tauks.  —  Boiler  Explosions.  —  Leaky  Gas-pipes.  —  The  Lightning-rod  Man. 

THE  confessions  which  people  are  sometimes  obliged  to  make  of  the 
errors  committed  in  building  are  often  more  amusing  to  the  auditors 
than  to  the  victims.    A  gentleman  was  narrating 
to  me  some  of  the  perils  he  had  undergone  from 
the  results  of  bad  planning  and  inferior  work- 
manship.    He  said  that  the  difficulties  and  an- 
noyances he  had  sustained  from  the  blunders  of 
his  mechanics  were  too  much  for  Christian  en- 
durance. 

The  plumber  seemed  to  be  his  especial  bete 
n&ir.  Among  other  instances,  he  cited  that,  in 
order  to  carry  a  two-inch  waste-pipe 
from  the  laundry-tubs,  the  plumber 
had  cut  a  hole  large  enough  for  a 
sally-port  directly  under  one  of  his 
main  piers.  The  consequence  was, 
that  the  walls  began  to  settle,  and 
every  lintel  throughout  the  height  of 
the  building  was  cracked.  He  be- 
lieved the  entire  structure  would  soon 
have  fallen,  had  he  not  immediately 
summoned  his  mason  to  put  in  tem- 
porary  supports  and  fill  up  the  aper- 
ture. This  plumber,  he  said,  seemed 
to  have  excelled  himself  in  the  enor- 
mities he  committed.  He  continued  : 


Kecesued  Balcony. 


"  We  had  been  but  a  few  weeks  in  the  house,  and  were  congratulating 
ourselves,  during  a  heavy  shower,  that  our  tank  was  filling,  thus  obviat- 
ing the  necessity  of  using  the  force-pump,  when,  to  our  consternation,  a 


PLUMBERS'  BLUNDERS.  89 

flood  of  water  came  rushing  down  the  attic  stairs ;  and,  had  the  storm  not 
abated,  we  should  have  stood  in  imminent  peril  of  being  deluged.  When 
I  went  up  to  ascertain  the  cause,  I  discovered  that  the  overflow-pipe  to 
the  tank,  instead  of  being  sufficiently  large  to  carry  off  the  surplus,  was 
of  a  much  smaller  size  than  the  inlet.  Of  course,  the  water  being  ad- 
mitted so  much  more  rapidly  than  the  waste-pipe  could  carry  it  off,  an 
overflow  was  a  natural  consequence.  This  tank  was  to  have  been  of  a 
certain  size,  commensurate  with  the  weight  which  the  foundations  were 
able  to  support ;  but,  consistently  with  his  foolhardy  incompetency,  he 
had  made  the  tank  three  times  the  dimensions  calculated.  The  excessive 
weight  began  to  show  its  effects  by  the  settling  of  floors  and  the  cracking 
of  ceilings.  The  pipes  also  were  laid  upon  the  cold  side  of  the  house ;  so 
that  during  the  first  severe  snap  they  not  only  froze  solid,  but  were  of 
such  light  material  that  they  burst  in  every  direction. 

"  My  wife,  one  day  while  superintending  some  operations  in  the  kitch- 
en, ordered  the  cook  to  have  a  quick  fire,  when  she  was  called  away. 
This  proved  to  be  providential ;  for  while  detained  in  the  parlor  by  un- 
expected company,  she  heard  a  terrific  explosion.  Rushing  to  the  kitchen, 
she  found  the  room  filled  with  steam,  while  fragments  of  windows  and  fur- 
niture were  scattered  in  every  direction.  Upon  further  investigation,  the 
poor  cook  was  found  lying  upon  the  floor  in  a  senseless  condition.  Of 
course  the  excitement  was  intense.  Neighbors  flocked  in,  and  physicians 
were  summoned.  It  was  well  for  the  plumber  that  he  had  shortly  be- 
fore left  for  Colorado.  He  would  scarcely  have  escaped  lynching  by 
the  indignant  crowd,  for  the  cause  of  the  disaster  was  only  too  evident. 
The  boiler,  which  had  been  specified  of  a  certain  weight,  and  had  been 
relied  upon  as  standing  any  amount  of  pressure,  had,  in  consequence  of 
the  additional  heat  in  the  stove,  exploded.  On  examination,  we  discov- 
ered that  it  was  made  of  the  lightest  material,  while,  to  carry  out  the  de- 
ception, a  sufficient  amount  of  lead  had  been  placed  in  its  bottom  to  bring 
it  up  to  the  specified  weight. 

"Then,  on  the  principle  of  'give  a  dog  a  bad  name,'  every  one  had 
something  to  say  against  the  unfortunate  blunderer.  One  of  the  ladies, 
in  virtuous  indignation,  proceeded  to  relate  how  this  individual,  manifest- 
ing a  stupidity  almost  criminal,  had  spoiled  her  new  parlor  carpet.  It 
seems  that  after  laying  the  gas-pipes,  he  had  neglected  to  prove  them,  and 
not  until  the  plaster  was  on,  and  the  inspector  came  with  his  air-pump 
to  test  them,  was  it  known  that  they  were  imperfect  and  leaked  badly. 
There  was  no  alternative.  The  walls  had  to  be  ripped  off  and  the  floors 
opened,  in  order  to  find  the  leaky  joints. 


90  MODERN  DWELLINGS. 

"  The  process  of  the  investigation  was  in  this  wise :  Soapsuds  were 
liberally  applied  with  a  brush  upon  all  suspected  places,  and  then,  by 
pumping  air  through  the  pipes,  wherever  there  was  a  leak,  a  bubbling 
effect  was  perceived.  For  a  month,  at  least,  did  that  indefatigable  gas- 
man go  around  with  his  pail  of  soapsuds  and  air-pump,  before  he  could 
make  those  everlasting  joints  secure ;  and,  after  all,  he  was  compelled  to 
tie  them  up  with  rags  and  putty,  till  they  presented  very  much  the  ap- 
pearance of  sore  fingers. 

"  This — my  friend  was  willing  to  believe — would  meet  the  exigencies 
of  the  case  for  a  time,  at  least.  He  was  anxious  to  get  rid  of  the  nui- 
sance, as  the  completion  of  the  house  had  already  been  delayed  for  sev- 
eral weeks.  The  family  were  impatient  to  get  settled  ;  the  carpets  and 
furniture  had  been  ordered  some  time  before,  and  were  all  ready  to  be 
put  in  their  places.  The  mechanics  once  fairly  out  of  the  house,  there 
was  all  haste  and  excitement,  laying  down  and  arranging  these  in  time 
for  a  house-warming,  the  date  of  which  had  been  previously  appointed. 
The  hostess  dreaded  to  see  the  fatal  plumber  again  in  the  midst  of  all 
this;  but  there  was  no  help  for  it,  for  it  was  necessary  that  the  chande- 
liers should  be  hung.  The  first  room  he  went  into  was  the  parlor,  and— 
but  we  will  use  her  own  words:  'I  was  determined  to  go  with  him,  to 
divert  further  mischief,  if  possible.  The  fixture  having  been  raised  to  its 
place,  nothing  remained  to  be  done  but  to  unscrew  the  cap  at  the  end  of 
the  pipe.  But,  horrors  to  behold !  the  cap  was  no  sooner  removed  than 
a  horrible  black  substance  spouted  out,  deluging  everything  in  the  room, 
and  utterly  ruining  my  beautiful  carpet,  just  fresh  from  Stewart's !  Im- 
agine my  consternation  if  you  can !  I  was  speechless  with  indignation 
and  despair,  and  looked  vaguely  from  him  to  the  carpet,  and  back  again. 
The  black  and  greasy  pipes,  oxidized  by  the  application  of  water,  had  con- 
verted the  soapsuds,  so  persistently  applied,  into  a  fluid  the  color  of  which 
was  like  ink,  and  equally  indelible,  while  its  stench  was  nauseous  in  the 
extreme.' " 

After  experiences  like  these,  it  is  not  surprising  that  one  pauses  before 
entering  upon  the  sea  of  troubles  involved  in  the  complicated  business  of 
building,  for  the  plumber  is  by  no  means  alone  in  his  liability  to  err. 
Indeed,  this  seems  peculiar  to  the  building  trade. 

There  is  one  individual  rather  more  remarkable  than  the  rest,  with 
whom  one  lias  to  contend,  whose  ignorance  and  conceit  are  only  equalled 
by  his  pertinacity,  and  who  is  a  type  so  peculiar  that  he  may  be  set  down 
as  a  character,  excelling  even  the  sewing-machine  agent  or  the  Yankee 
clock  -  peddler.  This  is  the  lightning-rod  man.  He  seems  to  penetrate 


PLUMBERS'   BLUNDERS. 


91 


the  inmost  depths  of  country  retirement,  and  the  mountain  nook  and 
sequestered  valley  are  not  proof  against  his  invasions.  Neither  need 
you  imagine  that  you  can  rid  yourself  of  him  by  putting  him  off,  or  re- 
fusing in  toto  to  have  a  lightning-conductor.  If  he  asks  you  fifty  cents 
per  foot, "  lay  not  the  flattering  unction  to  your  soul "  that  you  can  shake 
him  off  by  offering  twenty-five,  as  he  requires  not  a  moment  to  consider 
before  he  takes  you  up.  Finally,  if  all  fair  means  by  which  to  accomplish 
his  ends  fail,  this  irrepressible  mortal  will  resort  to  strategy ;  and  the  in- 
genious devices  of  which  he  is  capable  show  a  fertility  of  resource  and 
imagination  worthy  of  a  better  calling. 


';-' 


Design  No.  13. 

One  gentleman  was  telling  me  of  his  having  erected  some  cottages 
for  sale.  He  had  somehow  become  the  particular  mark  for  the  aim  of 
these  agents,  but  had  bravely  resisted,  until  at  last  he  found  himself  caught 
by  a  most  ingenious  trap.  One  of  the  fraternity  called  upon  him  in  the 
guise  of  a  purchaser,  and,  having  looked  through  the  building  and  under- 
stood the  terms,  professed  to  be  so  pleased  that  he  closed  the  negotiation, 
and  instructed  the  owner  to  call  at  his  office  at  a  certain  time  to  execute 
the  papers.  When  the  man  was  about  to  leave,  taking  a  final  look  at 
the  exterior,  he  observed,  with  some  consternation,  that  there  was  no 
lightning-rod  upon  the  house;  that  he  certainly  could  not  consent  to 
move  his  family  into  a  building  where  there  was  not  this  safeguard. 
The  owner  promptly  assured  him  that  if  that  were  the  only  objection, 
he  would  have  them  adjusted  at  once,  which  seemed  to  satisfy  the  appar- 
ent purchaser. 

A  confederate  soon  after  drove  to  the  grounds,  with  the  usual  rods 


92 


MODERN  DWELLINGS. 


and  fixtures  in  his  wagon,  and  a  contract  was  made  to  furnish  the  house 
with  rods.  At  the  appointed  time  the  owner  went,  papers  in  hand,  to 
nieet  the  proposed  purchaser,  when,  to  his  dismay,  no  such  office  or  man 
could  be  found. 

These  men,  who  pretend  to  follow  a  scientific  vocation,  are  in  reality 
the  most  ignorant  of  their  kind.  They  put  on  the  rod  by  the  foot,  sim- 
ply with  the  idea  of  distributing  as  many  feet  as  possible  over  the  build- 
ing, without  the  faintest  notion  of  how  it  should  be  applied ;  and  when 
you  speak  of  insulation  or  non-insulation,  or  of  the  upward  or  downward 
current,  they  evince  a  most  unpardonable  degree  of  ignorance. 


DESIGN   No.  13. 
First-floor  Plan. 

1.  Entrance  porcb;  2.  Main  hall;  3.  Library,  14X14;  4.  Parlor,  14x18;  5.  Diuing-room, 
14X20 ;  6.  Study,  13 X 17  ;  7.  Back  ball ;  8.  Butler's  pantry. — Estimated  cost,  $10,000. 

This  building  was  designed  as  a  residence  for  the  Hon.  Lyman  K. 
Bass,  the  well-known  Member  of  Congress  from  Buffalo ;  but  owing  to 

an  attack  of  illness  occurring  short- 
ly after  the  designs  were  prepared, 
it  has  not,  as  yet,  been  erected.  Al- 
though of  a  somewhat  rustic  char- 
acter, it  was  considered  sufficiently 
town-like  to  be  placed  on  one  of  the 
main  avenues  of  Buffalo ;  for,  from 
Elizabeth  down  to  the  Georges,  this 
style  has  been  adopted  in  the  finest 
thoroughfares  of  several  of  the  Eu- 
ropean cities,  such  as  Chester,  Rouen, 
and  some  of  the  old  parts  of  London. 
The  first  story  is  intended  to 
be  built  of  Baltimore  pressed  brick, 
which,  with  its  dark,  rich  color  and 
black  pointing,  presents  a  sober  and 
substantial  effect,  appropriate  for  a 
foundation  or  basement.  The  walls 

First-floor  Plan  of  Desigu  No.  13. 

above  were  to  be  covered  with  or- 

namentaltile  hanging,  placed  on  brick-work  of  a  rougher  character;  the 
roof  to  be  of  red  slate  from  the  Vermont  quarries. 


PLUMBERS'   BLUNDERS.  93 

The  first  floor  has  four  rooms,  and  are  so  thrown  together  by  means 
of  sliding-doors,  -that  they  form  a  continued  suite  in  every  direction.  The 
staircase  landing  extends  into  an  overhanging  bay,  sufficiently  high  not 
to  obstruct  the  carriage-way  beneath.  There  is  a  carriage  porch  at  the 
rear  entrance.  Of  course,  in  a  city  lot,  where  the  space  is  limited,  veran- 
das or  extended  wings  must  necessarily  be  avoided.  The  house  is  there- 
fore made  narrow  on  the  front,  while  the  depth  is  increased ;  and  as  it  is 
necessary  to  make  up  in  height  what  we  lose  in  breadth,  the  basement  is 
finished,  containing  kitchen,  laundry,  and  domestic  offices,  among  which  is 
a  servants'  hall.  These  halls  I  would  especially  recommend  in  every  house 
where  more  than  two  servants  are  required,  as  giving  them  a  place  to  sit 
and  take  their  meals,  without  intruding  upon  the  province  of  the  cook. 
The  kitchen  may  be  made  correspondingly  smaller,  while  the  hall  adds  to 
the  independence  and  contentment  of  the  servants  generally. 


94:  MODERN  DWELLINGS. 


CHAPTER  XIY. 

HEATING   AND   VENTILATION. 

Large  Furnaces. — Open  Grates. — Ventilating  Shaft. — Ventilators  in  Windows. — Venti- 
lating Soil-pipes. — Tin  Flues  in  Dark  Rooms. 

HEALTH  is  the  most  important  object  to  be  attained  in  the  construc- 
tion of  our  dwellings.  Dr.  Johnson  says :  "  To  preserve  health  is  a 
moral  and  religious  duty,  for  health  is  the  basis  of  all  social  virtues.  We 
can  be  useful  no  longer  than  we  are  well."  Perhaps  the  most  essential 
agents  of  health  are  proper  heating  and  good  ventilation. 

Modern  improvements  are  excellent  things  until  used  in  excess,  when 
they  become  more  troublesome  than  useful.  This  is  especially  true  of 
ventilation,  for,  however  complicated  an  arrangement  may  be  requisite  in 
a  public  building,  in  a  dwelling  the  more  simple  the  method,  the  more 
effectual  will  it  prove  in  operation. 

It  has  hitherto  been  generally  conceded  that  the  ventilating  flue  should 
be  situated  at  the  base  of  the  room.  The  theory  was  that  the  breath  ex- 
pelled from  our  lungs  in  the  shape  of  carbonic  acid  gas,  being  heavier  than 
the  atmosphere,  sank  to  the  floor,  and,  in  order  to  induce  it  to  rise,  a  strong 
draught  in  the  ventilating  flue  was  required.  Recent  experiments,  how- 
ever, have  shown  that  this  theory,  though  plausible,  is  incorrect ;  for  our 
breath  is  of  about  the  same  temperature  as  our  bodies,  or  ninety-eight 
degrees,  and,  being  so  much  warmer  than  the  atmosphere  of  the  room, 
naturally  rises  to  the  ceiling.  Thus,  if  a  flue  be  placed  here,  the  foul  air 
will  be  at  once  carried  off.  By  being  thus  immediately  expelled,  we  do 
not  incur  the  danger  of  again  breathing  the  same  air  in  its  vitiated  condi- 
tion ;  whereas  the  theory  of  floor  ventilation  is  open  to  the  objection  that 
it  remains  in  the  apartment  sufficiently  long  to  cool  and  settle.* 

Sometimes  a  small  register,  placed  in  the  ceiling,  giving  somewhat  the 
effect  of  a  centre-piece,  through  which  the  air,  heated  by  the  gas,  may  also 

*  In  this  matter  I  have  received  some  excellent  suggestions  from  Mr.  Carl  Pfeifl'er, 
the  well-known  architect,  whose  able  articles  on  this  subject  must  bo  familiar  to  many 
of  our  readers. 


HEATING  AND  VENTILATION. 


95 


escape,  will  serve  the  purpose.  This  may  be  carried  between  the  floor 
and  ceiling  by  a  simple  tube,  which  may  connect  with  the  nearest  chimney 
or  ventilating  flue. 

I  do  not  wish  to  be  understood  that  floor  ventilation  should  be  abol- 
ished. Fires  in  open  grates  serve  an  excellent  purpose,  for,  while  secur- 
ing a  better  draught,  less  heat  from  the  furnace  is  required. 

The  old  style  of  anthracite  grates  has  almost  fallen  into  disuse,  soft 
coal  being  now  preferred.  This  is  not  only  more  cheerful,  reminding  us 
of  the  good  old  days  of  wood  fires,  but  its  effect  upon  the  air  is  not  so 
drying.  If  wood  or  bituminous  coal  be  used,  however,  the  chimney  flue 
should  be  built  larger,  as  it  is  otherwise  apt  to  become  obstructed  by  soot. 


Design  No.  14. 

In  order  that  ventilating  flues  be  made  to  work  successfully,  it  is  nec- 
essary that  fresh  air  should  be  introduced.  This  is  generally  done  by 
means  of  the  registers,  which  supply  heat  from  the  furnace  and  fresh 
air  at  the  same  time.  There  is  a  great  advantage  in  having  the  furnace 
large;  for  if  too  small, the  radiating  surface  is  apt  to  be  overheated, there- 
by destroying  the  vital  properties  of  the  air  before  it  is  introduced  into 
the  rooms.  With  a  larger  furnace,  a  greater  amount  is  admitted,  which 
may  be  simply  warmed,  so  that  the  fresh  air  flows  throughout  the  build- 
ing, in  no  way  diminished  in  purity,  but  merely  changed  in  temperature. 

In  the  better  class  of  houses,  which  are  erected  with  such  niceness  of 


96  MODERN  DWELLINGS. 

workmanship  that  not  a  seam  or  crevice  is  supposed  to  be  open  for  the 
admission  of  air,  a  more  elaborate  system  of  ventilation  is  required,  not 
for  the  rooms  only,  but  also  for  the  halls  and  staircases ;  otherwise  the  air 
from  these  must  be  drawn  through  the  living-rooms.  In  Design  23,  I 
have  arranged  a  central  shaft,  in  the  centre  of  which  I  have  placed  an  iron 
pipe,  which  may  serve  the  purpose  of  a  smoke  flue  from  the  furnace,  radi- 
ating enough  heat  to  cause  a  stronger  draught.  In  this  shaft,  too,  the 
plumbing  pipes  of  the  house  may  be  placed.  By  this  means  any  offensive 
odors  are  carried  off,  and  in  case  of  a  leak  no  damage  will  ensue.  They 
are  also  easily  accessible  for  repair. 

It  is  generally  considered  that  direct  radiation  in  a  living-apartment  is 
undesirable,  as  it  simply  warms  the  air,  and,  producing  no  circulation,  the 
oxygen  is  consumed  without  the  introduction  of  a  fresh  supply.  Hence 
the  drum,  the  gas-stove,  and  even  steam  heating-pipes  are  objectionable, 
unless  some  auxiliary  system  of  ventilation  be  employed. 

As  flues  are  useless  to  carry  off  the  foul  air  of  the  house,  unless  fresh 
air  be  introduced  to  take  its  place,  so,  too,  it  is  obvious  that  a  current  of 
freezing  air  admitted  directly  upon  our  backs  is  in  no  way  agreeable.  It 
should,  therefore,  be  warmed  before  entering  the  apartment. 

We  have  frequently  seen  two  pipes  placed  under  the  window-sash  for 
the  admission  of  air,  furnished  with  dampers  by  which  to  regulate  the 
supply.  This  is  a  clever  means  of  introducing  fresh  air  into  the  room, 
and,  when  accompanied  by  proper  exhaust  flues,  performs  its  work  effect- 
ually. Yet  this  does  not  overcome  the  unpleasantness,  before  mentioned, 
of  cold  air  being  introduced  directly  into  the  room ;  and  although  the 
inventor  has  ingeniously  contrived  a  quarter-turn  in  the  pipe  to  force  it 
upward,  and  thus  to  prevent  its  blowing  immediately  upon  the  occupants, 
it  does  not  fulfil  its  mission.  The  cold  air,  being  heavier  than  the  warm, 
naturally  takes  a  downward  course  the  moment  they  come  in  contact.  I 
wrote  to  the  patentee  some  time  ago,  bringing  this  fact  to  his  notice,  and 
suggested  that  if  the  air  could  be  brought  into  the  room  slightly  warmed, 
as  from  the  register  of  a  hot-water  furnace,  I  believed  his  system  would 
be  perfect.  He  stated,  in  reply,  that  this  would  involve  a  complication 
beyond  the  scope  of  his  invention,  and  gave  the  matter  no  further  atten- 
tion. The  method  of  accomplishing  this  is,  however,  very  simple.  Let 
the  steam  radiator  be  placed  directly  under  the  window ;  then  the  fresh 
air  introduced  becomes  warm  in  passing  over  it,  and  rises  naturally  of 
itself. 

In  regard  to  the  ventilator  which  we  have  been  describing,  we  would 
say  that  it  is  unnecessary  to  adopt  these  awkward-looking  pipes,  tilling  up, 


HEATING  AND  VENTILATION.  97 

as  they  do,  some  eight  or  ten  inches  of  the  window,  excluding  the  light, 
and  obstructing  the  view.  A  simple  quarter-turn  moulding,  about  two 
inches  high,  placed  at  the  bottom  of  the  sash,  to  the  top  of  which  the 
window  may  be  raised,  secures  equally  good  ventilation,  with  this  objec- 
tionable feature  avoided.  Here  the  sash  itself  acts  as  a  damper.  Any 
carpenter  can  tit  up  this  moulding,  on  which,  owing  to  its  simplicity, 
there  is  no  patent-right. 

An  excellent  method  of  ventilating  rooms  in  which  there  is  no  fire- 
place is  by  means  of  a  tin  flue,  open  at  the  floor  and  ceiling,  and  termi- 
nating above  the  roof.  If  within  the  pipe  a  light  be  kept  burning,  it  will 
so  rarefy  the  air  as  to  insure  a  constant  draught.  There  may  be  arranged 
in  front  of  this  light  a  glass,  so  that  the  same  flame  may  serve  to  illumi- 
nate the  room.  It  often  happens,  especially  in  city  houses,  that  the  bath- 
room, water-closets,  and  butler's  pantry  must  be  in  a  part  of  the  house 
where  no  daylight  can  be  obtained ;  this  is  a  ready  means  of  supplying 
that  deficiency.  Frequently,  too,  particularly  in  houses  built  upon  the 
flat  system,  where  every  inch  of  room  must  be  economized,  small  bed- 
rooms are  necessarily  situated  in  the  same  position.  Here  this  method  of 
lighting  could  be  adopted  with,  especial  advantage.  A  frame-work  con- 
taining transparencies,  hung  before  the  light,  would  obviate  the  unsightly 
appearance  ordinarily  presented. 


DESIGN   No.  14. 

First-floor  Plan. 

1,  1,  1.  Verandas;  2.  Hall,  8X32;  3.  Parlor,  15x28;  4.  Library,  15X17;  5.  Dining-room, 
15  X  25 ;  6.  Kitchen,  17  X  17 ;  7.  Butler's  pantry ;  8.  Store-room ;  9.  Lavatory. — Esti- 
mated cost,  $10,000. 

The  candor  and  simplicity  of  this  design  expressed  in  the  picturesque 
breaking  of  its  sky  lines,  with  gables,  hips,  crests,  and  chimneys,  and  it? 
fair  acknowledgment  of  all  constructive  obligations,  may  serve  as  a  good 
illustration  of  the  progress  which  American  rural  architecture  has  made 
since  the  days  of  Puritan  plainness.  But  few  specimens  are  now  left  of 
the  architecture  of  the  "good  old  colony  times."  There  is  an  old-world 
expression  about  these  venerable  buildings  which  recommends  them  to 
our  interest  as  historical  reminiscences ;  and  it  must  be  confessed  that 
there  is  a  truth  and  a  solidity  about  their  construction  for  which  we  look 
in  vain,  in  the  architecture  of  a  later  day.  Undoubtedly  they  fairly  ex- 

7 


98 


MODERN  DWELLINGS. 


press  the  solid  energy,  determination,  and  great-heartedness  of  the  found- 
ers of  a  new  empire  in  the  wilderness.    The  straightforward  respectability 

and  honorable  pride  of  the  old  gov- 
ernors are  strongly  imprinted  upon 
their  mansions.  Our  prosperity,  how- 
ever, was  too  great  and  too  rapid  to 
preserve  inviolate  this  simplicity  in 
architecture,  and  soon  pretentious  dis- 
play, without  the  relinement  of  ed- 
ucation, became  the  aim,  finally  set- 
tling into  the  era,  before  mentioned,  of 
domesticated  Greek  temples  and  im- 
mense classic  porticoes  in  wood.  The 

First-floor  Plnn  of  Design  No.  14.  /.  r    ,  i  -i       •    i 

true  refinement  of  the  colonial  aris- 
tocracy, the  hearty  hospitality  of  the  gentleman  of  the  old  school,  seem  to 
have  been  overwhelmed  by  the  conspicuous  show  and  glitter  of  a  society 
whose  "  new-crowned  stamp  of  honor  was  scarce  current,"  and  which  nat- 
urally, in  architecture,  developed  a 
fever  for  base  imitation. 

The  cottage  under  consideration 
is  one  of  the  half-timber-and-tile  de- 
signs of  the  Jacobite  period.  Like 
its  prototype,  it  is  built  of  brick,  at 
least  to  the  second  story,  where  the 
tile-hanging  and  half-timber  work  be- 
gins. As  tiles,  however,  are  difficult 
to  obtain  in  this  country,  shingles  of 
equal  width  and  cut  to  a  pattern  may 
be  substituted.  If  these  are  of  good 
quality,  neatly  shaved  and  jointed, 
they  require  no  paint.  Dipping  them 
in  oil  suffices  to  preserve  and  give 
them  a  deep,  warm  color.  These 
might  terminate  on  a  moulded  cor- 
nice, with  dentals  underneath,  pro- 
jecting about  six  inches  from  the 
brick  wall,  the  furring  being  arranged 
«o  that  the  shingles  may  curve  out- 
ward. There  might  be  a  similar  cornice  and  curve  at  the  foot  of  the 
main  gable,  and  at  the  head  of  the  gable-window.  The  roof,  of  course, 


Gable  of  Design  No.  14. 


HEATING   AND   VENTILATION.  99 

should  be  of  slate;  but  it  is  better  not  to  repeat  this  material  on  the 
walls ;  for  even  if  a  different  color  be  used,  a  hard  and  rigid  appearance 
is  apt  to  be  the  result.  The  half -timbering  of  the  library  gable  may 
be  treated  as  follows :  The  principal  uprights  can  be  solid,  the  intervals 
filled  in  with  brick,  and  then  covered  with  a  coating  of  cement.  There  is 
a  difficulty  here,  however ;  for  unless  the  timbers  are  thoroughly  seasoned, 
they  are  liable  to  shrink  away  from  the  brick-work,  leaving  openings  for 
the  admission  of  cold  air.  Another  method  is  to  have  the  squares  lathed 
in  the  ordinary  manner,  and  then  stuccoed.  In  this  case  there  should  be  a 
channel  cut  in  the  side  of  the  timbering,  on  the  principle  of  a  tongue  and 
groove,  which  the  cement  will  enter,  so  that  in  case  of  shrinkage  the  joint 
will  not  be  exposed.  In  order  to  prevent  dampness,  it  would  be  well  to 
have  the  sill  or  bottom-rail  rabbeted,  as  in  the  case  of  a  groove  here  the 
water  is  apt  to  lodge,  and  thereby  hasten  decay. 

As  far  as  tightness  is  concerned,  I  think  the  better  way  is  to  carry  the 
brick -work  continuously  to  the  roof.  A  series  of  planking,  in  lieu  of 
half-timbering,  may  then  be  secured  to  the  walls,  and  the  bricks  between 
covered  with  stucco.  Still  another  way  is  to  seal  the  walls  with  vertical 
boards,  to  which  affix  plank  battens.  The  last  two  methods  might  be 
thought  objectionable  on  the  ground  of  imitating  half -timbering,  thus 
pretending  to  be  what  they  are  not,  and  so  failing  to  preserve  the  truth, 
which,  as  we  have  before  said,  is  one  of  the  first  principles  of  architect- 
ure. This  appearance  of  sham,  however,  may  be  prevented  by  treating 
the  planking  on  the  principle  of  battens  simply. 

The  ornaments  represented  in  the  panel  should  be  stamped  in  the 
stucco  while  it  is  fresh,  and  then  filled  up  with  red  or  black  mortar — a 
system  known  as  sgraffiti.  If  wood  be  used  as  a  backing,  these  figures 
might  be  produced  by  scroll-sawing,  or  even  stencilled  in  red  or  black 
outline.  If  cement  be  used,  the  cove  under  the  projection  may  be  of  the 
same  material. 

The  vignette  given  on  the  preceding  page  illustrates  the  library  gable, 
showing  the  half-timbering  and  ornamental  panels  on  a  larger  scale. 


100  MODERN  DWELLINGS. 


CHAPTER  XV. 

STEAM   HEATING.— ELECTRICITY. 
Pure  Air. — Automatic  Contrivances. — Electric  Signals. — Burglar  Alarms. 

THE  steam  apparatus  has  an  unquestionable  advantage  over  the  hot-air 
furnace,  as  the  former  cannot  be  heated  sufficiently  to  consume  the 
oxygen.  A  greater  amount  of  radiating  surface,  therefore,  becomes  nec- 
essary, and  the  atmosphere,  consequently,  is  not  liable  to  this  contamina- 
tion. It  is  impossible,  as  a  general  thing,  to  get  a  large  amount  of  any 
commodity  at  a  reduced  price,  without  a  corresponding  reduction  in  qual- 
ity ;  or,  on  general  principles,  if  we  have  an  abundance,  and  the  quality 
of  the  best,  we  are  compelled  to  pay  for  it  accordingly :  and  it  is  so  with 
the  heat  from  our  furnaces.  We  often  hear  of  heaters,  ranges,  and  stoves 
which  give  a  maximum  of  heat  with  a  minimum  of  coal,  which,  when 
the  matter  is  sifted  down,  simply  results  in  the  fact  that,  when  we  find  a 
heater  which  will  produce  this  result  with  an  economy  of  money,  there 
is  a  corresponding  extravagance  in  doctors'  bills. 

I  was  conversing  with  a  friend  only  a  short  time  ago  who  had  been 
living  in  a  luxuriously  heated 'establishment  in  the  city,  and  had  been 
advised  by  his  physician  to  remove  into  the  country  on  account  of  his 
own  illness,  and  general  decline  in  the  health  of  his  family.  He  therefore 
purchased  a  small  farm  near  the  city,  having  on  it  a  tumble-down  rookery 
which  lie  termed  his  cottage.  Into  this — so  as  to  superintend  the  progress 
of  his  building — he  determined  to  move  with  his  family  until  his  house 
should  be  completed.  This  picnic  mode  of  living  was  all  very  well  during 
the  summer  season ;  but  as  his  building  did  not  progress  as  rapidly  as  he 
had  anticipated,  he  was  obliged  to  submit  to  the  discomfort  of  remaining 
in  the  cottage  during  the  greater  part  of  the  winter.  He  dreaded  this 
chiefly  on  account  of  the  delicacy  of  his  children,  particularly  as  no  phy- 
sician was  near ;  but  what  was  his  surprise  to  find  that,  notwithstanding 
the  severe  exposure,  his  family  had  never  enjoyed  such  good  health,  and 
he  stated  that  he  actually  had  not  had  occasion  to  send  for  a  doctor  dur- 
ing the  whole  season  !  It  is  a  fact  worth  remembering  that  plenty  of 


STEAM   HEATING.— ELECTRICITY. 


101 


oxygen,  which  feeds  combustion  in  our  systems,  is  better  for  health  and 
comfort  than  a  large  amount  of  caloric,  minus  this  vital  property. 

Now  let  us  consider  how  we  shall  obtain  the  largest  amount  of  pure 
air  which  shall  be  warmed,  without  being  allowed  to  pass  over  any  surface 
whose  temperature  is  sufficiently  high  to  injure  its  life-giving  properties. 
Steam  or  hot-water  pipes  are  less  liable  to  this  objection  than  our  ordinary 
hot-air  furnaces.  The  former  have  also  an  advantage  in  the  automatic 
method  by  which  they  are  regulated.  Nervous  people  might,  with  some 
degree  of  reason,  protest  against  the  presence  of  a  steam-boiler  in  their 
cellars,  if  perfect  safety  were  not  insured  by  the  adoption  of  these  in- 
genious automatic  contrivances.  If,  through  the  closing  of  several  regis- 


Desi<jn  No.  16. 

ters  at  once,  the  pressure  upon  the  boiler  becomes  too  great,  the  steam 
itself  acts  upon  a  regulator  which  reduces  the  draught  of  the  furnace. 
There  is  also  a  safety-valve,  through  which  the  vapor  forces  an  escape 
when  the  device  just  mentioned  proves  insufficient.  This  regulator  is  en- 
titled to  rank  among  the  great  triumphs  of  modern  invention,  for  in  case 
of  a  demand  for  extra  heat  its  operation  is  reversed.  Thus  the  business 
of  attending  to  a  steam  furnace  simply  resolves  itself  into  supplying  the 
coal  and  removing  the  ashes,  the  amount  of  fuel  consumed  being  governed 
entirely  by  the  action  of  the  regulator. 

In  these  days,  when  the  members  of  a  household  are  compelled  to  suf- 
fer so  much  from  the  tyranny  of  servants,  all  automatic  contrivances  be- 
come a  great  source  of  comfort.  Among  the  most  valuable  are  those  con- 


102  MODERN  DWELLINGS. 

nected  with  electricity.  The  system  of  burglar  alarms  has  become  the 
terror  of  thieves,  and  adds  largely  to  the  security  of  buildings.  The 
same  battery  which  operates  these  wires  may  be  made  available  for  sig- 
nals ;  for  the  system  of  telegraphy  is  rapidly  superseding  such  primitive 
arrangements  as  bells  and  speaking-tubes.  A  gentleman  may  connect 
his  wires  with  his  stable,  his  gate  entrance,  and  even  extend  them  to  the 
distant  village  or  town ;  and  the  signal  system,  when  properly  arranged," 
may  be  made  useful  in  various  ways.  I  have  seen  it  applied  as  a  tell-tale 
to  a  tank,  where,  when  the  water  had  become  low,  it  would  set  in  motion 
a  little  bell,  which  would  continue  to  tingle  until  the  want  was  supplied ; 
and  when  the  furnace  was  in  need  of  additional  fuel,  a  similar  announce- 
ment would  be  made.  A  guest  arriving  at  the  porter's  lodge  would  be 
signalled  in  advance,  and  the  gardener  could  not  allow  the  greenhouse  to 
cool,  on  a  freezing  night,  without  this  little  sentinel  proclaiming  the  neg- 
lect. In  fact,  we  may  soon  expect  to  see  electricity  so  trained  in  our  do- 
mestic service  that  it  will  announce  when  the  baby  wakes  up,  or  the  pud- 
ding is  done. 

A  merchant  can  sit  in  his  office  and  communicate  with  his  different 
warehouses  and  factories.  A  wire  can  also  be  attached  to  his  residence. 
Any  one  wishing  a  letter  posted,  or  a  message  carried,  can,  by  touching  a 
wire,  summon  a  messenger  directly.  Another  signal  at  the  same  office 
brings  a  carriage  or  an  expressman.  This  is,  also,  a  means  of  protection 
in  case  of  intrusion.  A  lady  suffering  annoyance  from  impertinent  beg- 
gars or  tramps  can  at  any  moment  summon  a  policeman  to  her  house. 
While  the  8}'stem  is  growing  in  favor  in  large  cities,  why  should  not 
this  simple  process  be  applied  to  our  country  homes,  enabling  us  to  com- 
municate with  shopkeepers  and  friends,  or  to  summon  a  doctor  at  short 
notice,  despite  lame  horses  or  bad  roads  ?  The  fact  seems  patent  that 
such  an  application  of  electricity  to  country  houses  would  prove  one  of 
the  most  useful  and  economical  of  comforts. 

Another  great  benefit  to  be  derived  is  that,  in  a  dwelling  from  which 
the  family  are  absent  for  the  season,  the  wires  may  be  connected  with  the 
house  of  a  friend ;  and,  should  a  burglar  enter,  the  alarm  is  sounded  be- 
yond his  hearing.  Our  readers  will  probably  remember  the  tragedy  at 
Bay  Ridge,  where  two  burglars  —  who  turned  out  to  be  the  abductors  of 
the  child  Charlie  Ross — lost  their  lives  in  attempting  to  rob  an  unoccu- 
pied dwelling.  The  alarm  having  been  arranged  so  as  to  sound  in  the 
refiidence  of  a  neighbor,  he,  with  his  coachman  and  gardener,  surrounded 
the  house  and  awaited  their  exit,  utterly  unsuspected  by  them. 

There  has  been  the  objection  raised  that  these  burglar  alarms  are  fre- 


STEAM  HEATING.— ELECTRICITY. 


103 


quently  the  cause  of  a  panic,  when  there  is  no  reason  for  uneasiness, 
nothing  more  dreadful  having  occurred  than  the  mere  opening  of  a  win- 
dow by  some  member  of  the  household.  Again  it  is  said  that  burglars 
may  effect  an  entrance  through  a  pane  of  glass  without  raising  the  sash 
at  all.  Both  of  these  objections,  however,  may  be  easily  overcome  by  at- 
taching the  wire  to  the  outside  blinds.  By  this  means  the  window  may 
be  raised  at  pleasure,  and  it  would  be  impossible  for  any  one  to  enter  with- 
out opening  the  shutter. 


DESIGN    No.  15. 
First-floor  Plan. 

1.  Hall,  18X21;  2.  Parlor,  15x21 ;  3.  Back  hall;  4.  Kitchen,  15X16;  5.  Kitchen  pantry; 
6.  Butler's  pautry ;  7.  Dining-room,  15X18;  8.  Veranda;  9.  Kitchen  porch. — Estimated 
cost,  $11,000. 

This  house,  which  has  recently  been  erected  for  Mr.  G.  E.  Hamlin,  at 
Mountain  Station,  Orange,  New  Jersey,  is  a  compact  though  liberally 
arranged  dwelling,  showing  some  of  the  advanced  principles  of  building. 
The  parlor  is  of  good  size,  and  is 
made  the  more  spacious  by  its  con- 
nection, through  double  doors,  with 
a  large,  square  hall,  the  fireplace  of 
which  stands  opposite  the  parlor  bay- 
window.  This  hall,  containing  the 
staircase,  is  somewhat  similar  to  that 
in  Design  No.  3,  though  of  a  more 
elaborate  character.  Its  fireplace  and 
bookcase  give  evidence  of  its  being  I 


one  of  the  living-rooms. 

The  window  over  the  staircase,  [||||  i 
and  the  upper  sash  of  the  corner  win- 
dows, are  of  stained  glass.  The  latter 
has  rolling  blinds,  which  are  coiled 
under  the  floor,  and  cover  the  plate-glass  only.  The  parlor  bay-window 
is  supplied  with  similar  blinds.  There  being  no  stained  glass  here,  how- 
ever, the  coil  is  placed  in  the  ceiling,  by  which  means  the  entire  window 
is  protected. 


First-floor  Plan  of  Design  No.  18. 


104-  MODERN  DWELLINGS. 


CHAPTER  XYI. 

ALTERATIONS. 
Remodelliug  Houses. — Self-styled  Architects. — Saving  Expense. 

THE  architect  is  often,  in  the  discharge  of  his  duties,  called  upon  to 
perform  many  difficult  tasks ;  but  none  more  arduous  than  that  of 
remodelling  a  country-house,  where  he  is  obliged  to  contend  with  the 
blunders  and  conventional  distortions  of  carpenter's  architecture,  to  de- 
velop harmony  out  of  discord,  beauty  out  of  ugliness,  and  elegance  out 
of  the  commonplace.  Every  day  we  see  men  of  wealth,  and  sometimes  of 
intelligence,  employing  ignorant  builders — self-styled  architects — to  fur- 
nish designs  for  cottages,  villas,  and  even  mansions  of  great  pretension. 
Among  this  class  of  mechanics  some  one  may  be  found  in  every  town 
whose  ambition  or  conceit  has  led  him  to  fancy  that  he  may  combine  the 
profession  of  an  architect  with  the  trade  of  a  builder.  He  may  "  draught 
a  plan"  which  on  paper  may  deceive  the  eye  of  his  client,  and  actually 
persuade  him  into  the  delusion  that,  as  it  is  the  composition  of  the  "prac- 
tical man,"  it  will  appear  well  when  erected.  For  many  have  thus,  un- 
fortunately, built  in  haste  to  repent  at  leisure. 

The  usual  recourse  in  such  cases,  after  the  building  is  spoiled,  is  to  ap- 
ply to  an  architect  of  acknowledged  ability,  with  the  request  that  he  shall 
remodel  the  work.  With  perplexed  brain  he  sets  about  the  expensive 
and  difficult  task  of  correcting  a  piece  of  work  which,  had  it  been  prop- 
erly done  in  the  beginning,  much  trouble  and  vexation  would  have  been 
saved  both  to  the  owner  and  himself. 

We  would  not  wish,  of  course,  to  dissuade  those  who  have  become 
victims  to  such  blunders  from  calling  upon  a  competent  architect  to  rem- 
edy them.  We  would  simply  warn  those  who  may  contemplate  building. 

I  often  receive  applications  from  persons  occupying  houses  which 
have  been  "spoiled  in  the  making,"  and  it  is  then  a  problem  as  to  how  far 
it  is  judicious  to  alter  them.  Very  often  the  owner  imagines  he  will 
make  a  few  changes,  and  begins  with  some  of  the  simplest  alterations. 
One  thing  leads  to  another,  until  finally,  could  he  have  realized  to  what 


ALTERATIONS. 


105 


excesses  he  should  have  been  carried,  he  certainly  would  have  decided  to 
start  anew. 

One  gentleman  recently  congratulated  himself  that  he  had  purchased 
a  fine  dwelling  at  a  very  low  cost,  which  only  required  a  small  amount 
expended  upon  it  to  make  it  exactly  what  he  wanted.  With  the  addi- 
tion of  a  third  story  or  a  mansard,  it  would  be  sufficiently  large,  and 
then  all  it  needed  was  simply  the  elevation  of  the  first  and  second  story 
ceilings.  He  was  much  surprised  when  I  expressed  the  opinion  that  the 
house  was  not  worth  the  alterations,  though  he  admitted  that  an  entirely 
new  roof  would  be  required,  and  the  elevation  of  the  ceilings  would  neces- 


Desisni  No.  16. 


sitate  the  destruction  of  all  the  present  plastering.  The  doors  and  win- 
dows, together  with  their  trimmings,  would  have  to  be  renewed,  in  order 
to  suit  the  change,  so  that  virtually  it  would  be  necessary  to  rebuild  the 
entire  house,  and,  in  reality,  all  that  would  be  saved  was  the  cellar.  Even 
then  it  would  not  be  what  he  wanted,  though  costing  as  much  as  a  new 
building,  which  might  be  arranged  exactly  to  suit  his  wishes.  Would  it 
not  be  better,  therefore,  to  let  the  old  house  to  a  farmer,  and  commence 
a  new  one  on,  perhaps,  a  better  site  ?  To  this  he  replied  that  the  present 
location  was  not  only  the  most  desirable,  but  the  roads  were  already  estab- 
lished, and  the  trees  and  shrubbery  grown.  Then  I  suggested  that  he 
might  remove  the  old  building,  and  put  up  a  new  one  on  the  present 


106 


MODERN  DWELLINGS. 


site.  My  advice  was  accepted,  and  the  result  was  that  he  had,  at  the 
cost  of  no  greater  sum  than  would  have  been  necessary  to  alter  the  old 
building,  a  new  one  arranged  entirely  to  his  satisfaction.  He,  moreover, 
saved  the  expense  of  tearing  down  the  original  structure,  and  now  had 
two  houses,  for  the  same  price  for  which  otherwise  he  would  have  had 
but  one. 


DESIGN  No.  16. 
First-floor  Plan. 

1.  Hall;  2.  Parlor,  15X22;  3.  Library,  15X20;  4.  Bedroom,  15 X 17 ;  5.  Dressing-room;  6. 
Dining-room,  14X21;  7.  Butler's  pantry;  8.  Kitchen;  9.  Back  entry;  10.  Milk-rooin; 
11.  Back  hall;  12.  Staircase;  13.  Veranda. — Estimated  cost,  $17,000. 

This  building  has  been  recently  erected  at  Pawling,  Duchess  County, 
New  York,  for  the  Hon.  J.  B.  Dutcher,  an  old  resident  of  that  place.  The 
parlor  and  library  are  approached  from  the  main  hall,  and  thrown  together 
by  double  doors,  making  an  entire  range  of  fifty  feet  along  the  front  of 
the  house,  which  is  skirted  by  a  piazza  some  ten  feet  wide.  On  entering 

the  house,  the  first  thing  that  strikes 
a  visitor  is  the  large  stained  -  glass 
window  lighting  the  hall.  The  bed- 
room, though  not  large  in  itself,  has 
a  spacious  dressing-room,  with  liberal 
closets  attached.  This  may  be  also 
reached  from  the  back  hall,  which 
has  its  entrance  from  the  basement, 
as  shown  in  the  perspective  eleva- 
tion, which  gives  the  rear  view  of 
the  house.  The  entire  first  floor  is 
fitted  up  with  hard  wood,  the  living- 
rooms  containing  some  fine  speci- 
mens of  Jacobean  workmanship,  ex- 
ecuted by  Messrs.  Pettier  &  Stymus  of  this  city.  The  plumbing  and 
ventilation  are  of  the  most  approved  character,  and  the  heating  apparatus 
highly  satisfactory,  having  been  put  in  by  Messrs.  Baker  &  Smith,  while 
the  gas  is  manufactured  on  the  place  by  one  of  the  Springfield  Com- 
pany's machines.  The  fixtures,  which  are  good  specimens  of  the  reform 
school,  are  from  the  house  of  Archer  &  Pancoast,  of  New  York. 


First-floor  Plan  of  Design  No.  10. 


LIMtARY. 


107 


CHAPTER  XVII. 

LIBRARY. 
Nooks  and  Cubby-holes. 

PROBABLY  the  library,  more  than  any  other  room  in  a  house,  reflects 
the  master  mind  of  the  household.     One  person  regards  this  apart- 
ment as  simply  a  place  in  which  to  read  newspapers,  write  letters,  and 


The  Library,  iu  Design  No.  16. 

keep  slippers  and  dressing-gown.  Another's  idea  is  that  it  is  like  a  mu- 
seum for  bric-a-brac,  with  showy  bookcases  and  ample  shelving  for  books, 
purchased  by  the  yard,  selected  according  to  their  backs.  The  real  libra- 
ry is,  of  course,  that  in  which  the  style  and  selection  of  reading  matter 


108  MODERN  DWELLINGS. 

convey  some  idea  of  certain  specialties  to  which  the  dilettante  or  scientific 
possessor  is  prone.  No  doubt  the  most  attractive  collections  are  those  in 
which  are  represented  all  classes  of  literature  interesting  to  the  general 
reader.  In  this  case  the  alcove  arrangement,  where  volumes  upon  kin- 
dred subjects  are  kept  by  themselves,  is  undoubtedly  the  best. 

This,  however,  is  intended  only  for  large  collections,  and  these  strictly 
the  possessions  of  literary  men.  Home  libraries,  acting  as  a  sort  of  ren- 
dezvous for  social  intercourse,  may  be  far  more  cosy  and  inviting  if 
arranged  like  a  lady's  boudoir.  In  some  instances  in  England  —  as,  for 
example,  in  the  residence  of  Sir  Walter  Scott  at  Abbotsford —  there  are 
two  rooms — one  a  large  apartment  simply  for  the  deposit  of  books,  the 
other  a  small  study  adjoining,  arranged  more  in  sympathy  with  the  social 
disposition  of  the  owner. 

One  of  the  first  considerations  in  regard  to  the  library  is  that  of  light. 
Light  from  the  left  is  always  regarded  as  more  desirable  for  writing,  and 
the  advantage  of  having  it  fall  upon  the  reader's  book  while  he  sits  facing 
the  fire  has  already  been  pointed  out.  Bay-windows  in  this,  as  well  as  in 
all  other  apartments,  are  desirable.  These,  like  the  fireplace,  need  not  be 
placed  directly  in  the  centre  of  the  room.  Corner  bay-windows,  situated 
diagonally,  are  often  effective  in  preventing  stiff  regularity,  and  giving 
grace  to  the  room,  while  they  form  cosy  retreats,  and  are  "  traps  to  catch 
a  sunbeam." 

Ventilation  is  also  an  essential  consideration  in  a  study  or  reading- 
room,  these  being  the  natural  lounging-places  for  gentlemen  who  smoke, 
and  because,  in  a  close  room,  the  gluing  and  pasting  of  the  books  are  apt 
to  become  musty,  unless  proper  precautions  are  taken  to  secure  a  good 
circulation  of  air. 

In  our  observations  on  bookcases  we  shall  describe  somewhat  at  length 
the  manner  of  their  construction,  size,  etc.  We  would  here  say  that,  in 
order  to  prevent  dampness,  it  is  always  well  to  have  a  bookcase  raised  a 
few  inches  above  the  floor,  and  made  with  solid  backs,  removed  sufficient- 
ly from  the  wall  to  allow  a  free  circulation  of  air. 

As  it  is  often  the  case  that  the  library  is  appropriated  by  the  master 
of  the  house,  it  is  frequently  brought  into  requisition  as  a  business-room. 
It  would,  therefore,  be  well  to  have  it  connected  with  the  dining-room, 
which  could  serve  as  a  waiting-room  for  persons  whose  visits  are  of  a 
business  character. 

When  a  house  is  sufficiently  large,  it  is  well  to  have  a  regular  business- 
room,  or  office,  where  employees  may  be  paid  and  accounts  settled.  Here, 
if  the  owner  be  of  an  agricultural  turn  of  mind,  might  be  placed  a  re- 


LIBRARY.  100 

pository  for  pears  and  other  fruits,  which  need  to  be  carefully  packed 
away  in  drawers,  to  ripen.  This  also  seems  the  place  for  guns  and  fish- 
ing-tackle. Stuffed  birds,  shells,  and  curiosities  may  be  added,  as  decora- 
tions to  the  apartment. 

The  reader  might  imagine,  from  the  foregoing  remarks,  that  a  library 
is  desirable  only  in  rich  and  costly  mansions;  that  such  a  luxury  might 
be  regarded  as  a  superfluity  in  a  cottage.  It  is  not  too  much  to  say  that 
every  man  owes  it  to  himself,  no  less  than  to  his  family,  to  provide  in  his 
home  a  place  where  he  may  gather  his  dear  ones  for  counsel  and  in- 
struction. We  would  enlarge  on  this  subject,  which  we  deem  so  im- 
portant, but  prefer  rather  to  quote  the  language  of  a  distinguished  writer 
of  the  day : 

"  We  form  judgments  of  men  from  little  things  about  their  house,  of 
which  the  owner,  perhaps,  never  thinks.  In  earlier  years,  when  travel- 
ling in  the  West,  where  taverns  are  rather  scarce  and,  in  some  places,  un- 
known, and  every  settler's  house  was  a  house  of  '  entertainment,'  it  was 
a  matter  of  some  importance  and  some  experience  to  select  wisely  where 
you  would  put  up ;  and  we  always  looked  for  flowers.  If  there  were 
no  trees  for  shade,  no  patch  for  flowers,  we  were  suspicious  of  the  place. 
But  no  matter  how  rude  the  cabin  or  rough  the  surroundings,  if  we  saw 
that  the  window  held  a  little  trough  of  flowers,  and  that  some  vines 
twined  about  strings  let  down  from  the  eaves,  we  were  confident  that 
there  was  some  good  taste  and  carefulness  in  the  log -cabin.  In  a  new 
country,  where  people  have  to  tug  for  a  living,  no  one  will  take  the  trou- 
ble to  rear  flowers  unless  the  love  for  them  is  pretty  strong ;  and  that  this 
taste  blossoms  out  of  plain  and  uncultivated  people  is  itself  like  a  clump 
of  harebells  growing  out  of  the  seams  of  a  rock.  We  were  seldom  mis- 
led. A  patch  of  flowers  came  to  signify  kind  people,  clean  beds,  and 
good  bread. 

"But  other  signs  are  more  significant  in  other  states  of  society.  Flow- 
ers about  a  rich  man's  house  may  signify  only  that  he  has  a  good  gar- 
dener, or  that  he  has  refined  neighbors,  and  does  what  he  sees  them  do. 

"  But  men  are  not  accustomed  to  buy  books  unless  they  want  them. 
If,  on  visiting  the  dwelling  of  a  man  of  slender  means,  I  find  the  rea- 
son why  he  has  cheap  carpets  and  very  plain  furniture  to  be  that  he  may 
purchase  books,  he  rises  at  once  in  my  esteem.  Books  are  not  made  for 
furniture,  but  there  is  nothing  else  that  so  beautifully  furnishes  a  house. 
The  plainest  row  of  books  that  cloth  or  paper  ever  covered  is  more  signif- 
icant of  refinement  than  the  most  elaborately  carved  etayere  or  sideboard. 

"  Give  me  a  house  furnished  with  books  rather  than  furniture ;  both, 


110 


MODERN  DWELLINGS. 


if  you  can:  but  books  at  any  rate.  To  spend  several. days  in  a  friend'^ 
house  and  hunger  for  something  to  read,  while  you  are  treading  on  costly 
carpets,  and  sitting  upon  luxurious  chairs,  and  sleeping  upon  down,  is  as  if 
one  were  bribing  your  body  for  the  sake  of  cheating  your  mind. 

"  Is  it  not  pitiable  to  see  a  man  growing  rich,  and  beginning  to  aug- 
ment the  comforts  of  home,  and  lavishing  money  on  ostentatious  uphol- 
stery, upon  the  table,  upon  everything  but  what  the  soul  needs  ? 

"  We  know  of  many  and  many  a  rich  man's  house  where  it  would  not 
be  safe  to  ask  for  the  commonest  English  classics.  A  few  garish  annuals 
on  the  table,  a  few  pictorial  monstrosities,  together  with  the  stock  of  re- 


Design  No.  17. 

ligious  books  of  'his  persuasion,'  and  that  is  all:  no  range  of  poets,  no 
essays,  no  selections  of  historians,  no  travels  or  biographies,  no  select  fic- 
tions, no  curious  legendary  lore.  But  then,  the  walls  have  paper  on  that 
cost  three  dollars  a  roll,  and  the  floors  have  carpets  that  cost  four  dollars 
a  yard. 

"  Books  are  the  windows  through  which  the  soul  looks  out.  A  house 
without  books  is  like  a  room  without  windows.  No  man  has  a  right  to 
bring  up  his  children  without  surrounding  them  with  books,  if  he  has  the 
means  to  buy  them.  It  is  a  wrong  to  his  family ;  he  cheats  them.  Chil- 
dren learn  to  read  by  being  in  the  presence  of  books.  The  love  of  knowl- 
edge comes  with  reading,  and  grows  upon  it ;  and  the  love  of  knowledge 


LIBRARY.  Ill 

in  a  young  mind  is  also  the  warrant  against  the  inferior  excitement  of 
passions  and  vices. 

"  Let  us  pity  these  poor  rich  men  who  live  barrenly  in  great  bookless 
houses.  Let  us  congratulate  the  poor  that  in  our  day  books  are  so  cheap 
that  a  man  may  every  year  add  a  hundred  volumes  to  his  library  for  what 
his  tobacco  and  beer  may  cost  him.  Among  the  earliest  ambitions  to  bo 
excited  in  clerks,  workmen,  journeymen,  and,  indeed,  in  all  that  are  strug- 
gling up  in  life  from  nothing  to  something,  is  that  of  owning  and  constant- 
ly adding  to  a  library  of  good  books.  A  little  library,  growing  larger  every 
year,  is  an  honorable  part  of  a  young  man's  history.  It  is  a  man's  duty  to 
have  books.  A  library  is  not  a  luxury,  but  one  of  the  necessaries  of  life." 

Sometimes  little  nooks  and  niches  may  be  converted  into  cupboards, 
or  miniature  closets,  in  a  very  artistic  manner,  often  affording  an  agreea- 
ble surprise ;  and  additional  interest  is  frequently  given  by  these  cubby- 
holes, apparently  panels,  remaining  for  a  long  time  unsuspected.  There 
are  spaces  in  the  furring  out  of  chimneys  which  may  be  thus  utilized. 
There  is  one  of  this  kind  in  the  dining-room  of  Dr.  Chadwick,  of  Boston. 
Over  the  middle  panel  of  the  fireplace  hangs  an  old  German  picture 
(1525),  whose  frame  is  on  hinges,  rendering  the  service  of  a  door  to  a 
small  cupboard.  Such  cupboards  prove  convenient  depositories  for  med- 
icines, liquors,  or  valuables,  and  would,  no  doubt,  be  appreciated  by  our 
bachelor  friends  if  devoted  to  the  care  of  their  pipes  and  tobacco. 

Some  of  the  old  buildings  erected  prior  to  the  Tudor  period  were 
rich  in  closets  of  this  description.  There  were  also  sliding-doors,  leading 
into  secret  chambers,  passages,  and  stairways,  some  of  which  existed  years 
before  being  discovered,  and  have  many  a  romantic  tale  connected  with 
them. 

A  lady  mentioned  to  me,  only  a  short  time  since,  that  the  amount  of 
anxiety  she  had  experienced  while  living  in  the  country,  on  account  of 
having  a  quantity  of  family  plate  in  her  possession,  kept  her  in  a  perpet- 
ual state  of  nightmare ;  and  she  and  her  daughter  wrent  tremblingly  about 
searching  the  house,  weapons  in  hand,  at  the  slightest  noise,  construing 
the  rustling  of  leaves  and  swinging  of  shutters  into  attempts  at  house- 
breaking.  Finally  she  decided  to  utilize  a  waste  space  under  the  foot  of 
the  staircase,  by  converting  it  into  a  secret  closet,  the  entrance  to  which 
should  be  a  sliding  panel  in  the  wainscot.  This  hidden  closet  was  in 
reality  a  greater  protection  against  thieves  than  a  burglar-proof  safe  with 
the  manufacturer's  guarantee.  It  is  probable  that  in  many  cases  the  very 
fact  of  one  of  these  safes  being  placed  in  a  dwelling  acts  as  an  advertise- 
ment, making  the  house  a  mark  for  thieves. 


112 


MODERN  DWELLINGS. 


DESIG-N   No.  17. 
First-floor  Plan. 

1.  Veranda;  2.  Hall,  9x31;  3.  Dining-room,  16X23  ;  4.  Butler's  pantry,  10X13;  5.  Store- 
room; 6.  Kitchen,  16x16;  7.  Kitchen  pantry;  8.  Servant's  porch;  9.  Staircase  hall; 
10.  Parlor,  15X22;  11.  Library,  15X18.— Estimated  cost,  $14,000. 

This  design  is  somewhat  irregular,  having  the  entrance  on  the  dining- 
room  side,  although  the  perspective  is  taken  from  the  rear,  or  garden, 
view.  The  two  front  rooms — the  parlor  and  dining-room — communicate 
by  opposite  folding-doors  across  the  hall,  forming  a  vista  with  the  parlor 
windows  at  one  end,  and  a  niche  containing  the  sideboard  at  the  other. 
The  library  is  a  spacious  room  with  a  large  bay-window.  The  hall,  which 
passes  through  the  house,  is  nine  feet  wide,  and  is  unobstructed,  the  stairs 
being  placed  in  an  alcove  at  the  left.  Passing  through  this  alcove,  we 
come  to  the  butler's  pantry,  containing  two  dressers  and  a  sink.  The 
pantry  communicates  with  the  store-room,  kitchen,  main  hall,  and  dining- 
room.  It  is  connected  with  the  latter  by  a  double  door,  swinging  both 
ways,  and  closed  by  a  spring,  so  as  to  shut  off  the  view  of  the  kitchen. 

The  second  story  contains  five  bedrooms  and  the  family  bath-room ; 
there  is  also  a  dressing-room,  with  conveniences,  connected  with  the  front 

chamber.  The  hall  in  this  story  has 
a  well -lighted  alcove,  intended  for 
reading  or  sewing.  The  attic  is  quite 
roomy,  having  four  good -sized  bed- 
chambers. Two  of  these  are  in  com- 
munication with  a  recessed  balcony, 
which,  owing  to  its  elevation,  may 
command  an  extensive  view.  These 
rooms  are  kept  cool  by  a  loft  between 
the  ceilings  and  the  roof.  Both  attic 
and  loft  are  thoroughly  lighted  and 
ventilated. 

The  building  is  frame,  sheathed 
and  clapboarded  as  described  in  De- 
sign No.  1.  The  vignette  on  the  opposite  page  shows  the  rear  porch 
or  servant's  entrance,  with  the  kitchen  pantry  on  the  left.  This  porch  is 
of  good  size,  and  provided  with  a  settee. 

The  kitchen  is  accommodated  with  private  stairs  leading  to  the  ser- 
vants' room  above.  The  advantage  of  this  arrangement  is  that,  when  the 


First-floor  Plan  of  Design  No.  17. 


LIHUARY. 


113 


family  are  absent,  the  domestics  may  be  cut  completely  off  from  the  main 
portion  of  the  house,  by  simply  locking  the  doors  of  the  wing  on  each 
story,  free  access  being  still  allowed 
them  to  their  own  apartments. 

In  small  houses,  where  there  is 
no  private  staircase,  it  is  always  well 
to  have  the  main  stairs  out  of  sight 
from  the  living-rooms,  so  that  the 
second  story  may  be  approached 
without  observation.  Except  in 
houses  of  very  small  dimensions,  we 
consider  the  back  staircase  indispen- 
sable. It  not  only  saves  wear  upon 
the  principal  stairs,  and  keeps  the 
servants  retired,  but  it  is  very  often 
a  great  relief  to  the  lady  herself  to 
be  able  to  reach  her  chamber  before  presenting  her- 
self to  her  guests,  when  suddenly  summoned  from 
household  duties,  to  do  the  honors  of  the  drawing- 
room.  I  have  heard  house-keepers  frequently  com- 
plain that  the  greatest  inconvenience  connected  with 
a  badly  planned  house — after  the  scarcity  of  closets 
— was  the  want  of  a  private  staircase.  In  fact,  one 
lady  went  so  far  as  to  make  the  confession  that  she 
had  not  unfrequently  been  obliged  to  resort  to  the 
subterfuge  of  sending  her  servant  up -stairs  for  a 
dress.  First  dropping  it  out  of  the  window,  the  ser- 
vant, in  passing,  would  stop  at  the  parlor  door  and  state,  with  the  usual 
ceremony,  that  "  Missus  "  wrould  be  down  in  a  minute.  Then  she  would 
proceed  to  assist  her  mistress  in  her  hasty  toilet  in  the  kitchen. 

8 


Servant's  Porch,  in  Desigu 
No.  17. 


MODERN  DWELLINGS. 


CHAPTER  XYIII. 

KITCHEN. 
The  Comfort  of  Servants. 

IT  is  a  matter  of  dispute  whether  a  kitchen  is  better  above  or  below 
ground  in  a  country-house.  Many  persons,  especially  if  brought  up 
in  cities,  claim  that  there  is  a  greater  degree  of  privacy  when  the  kitchen 
and  offices  are  below,  and  also  that  it  is  more  convenient  if  they  are  on 
the  same  level  with  the  vegetable,  coal,  and  store  cellars.  In  the  vicinity 
of  large  cities,  where  land  is  too  expensive  to  spread  out  much,  of  course 
this  arrangement  is  best.  It  greatly  reduces  the  cost  of  the  building;  for 
it  is  evident  that  the  same  foundation  will  support,  and  the  same  roof 
cover,  a  building,  whether  it  have  one  or  five  stories.  By  this  plan  the 
entire  roof  and  walls  of  a  kitchen  are  saved,  to  say  nothing  of  the  cost  of 
additional  chimney  shafts.  There  are  others,  again,  who  consider  going 
up  and  down  stairs  the  destruction  of  health  and  comfort,  rendering  the 
life  of  the  house-keeper,  who  properly  superintends  her  domicile,  a  bur- 
den. It  is  a  recognized  fact  among  house-agents,  that  houses  with  kitch- 
ens above  ground  will  always  rent  or  sell  more  readily  than  others. 

The  comforts  and  accommodations  for  servants  in  the  country  are 
matters  which  should  receive  more  consideration  than  is  usually  accorded 
them.  Nine  times  out  of  ten,  unless  basement  kitchens  have  the  advan- 
tage of  a  side-hill  exposure,  they  are  damp  and  gloomy ;  a  fact  liable  not 
only  to  create  dissatisfaction  among  domestics,  but  one  by  which  their 
health  is  often  seriously  impaired.  The  old  habit  of  putting  them  any- 
where to  work,  and  in  some  close  or  dismal  garret  to  sleep,  has  justly  ex- 
cited rebellion  among  these  necessary,  and  now  independent,  members  of 
our  households.  This,  no  doubt,  in  a  great  measure  accounts  for  the  dif- 
ficulties with  servants  of  which  we  constantly  hear  house  -  keepers  com- 
plain. (Jive  them  cheerful  kitchens,  exposed  to  light  and  air,  and  bed- 
rooms comfortably  warmed  and  furnished,  with  something  to  interest 
them  during  their  hours  of  leisure,  and  the  hue  and  cry  against  the  tyr- 
anny of  cooks  and  chamber-maids  will  become  things  of  the  past.  It  is 


KITCHEN. 


115 


generally  thought  that  to  warm  their  rooms  is  treating  them  with  far  too 
much  consideration,  and  placing  them  beyond  the  sphere  to  which  they 
belong;  but  the  mistake  house-keepers  make  in  not  providing  for  their 
servants'  comfort  is  one  by  which  they  themselves  are  apt  to  suffer  more 
than  the  servants. 

The  fact  should  be  considered  that  people,  even  in  the  class  of  domes- 
tics, are  human,  and  by  no  means  without  feeling  and  a  need  of  sympathy. 
They  are  often  taken  to  lonely  parts  of  the  country,  and  expected  to  be 


Design  No.  18. 


contented  to  sit  in  a  dreary  apartment,  without  companionship  or  diver- 
sion, spending  the  long  winter  evenings  like  prisoners  in  the  penitentiary. 
Many  of  them  like  to  read,  yet  books  and  papers  are  strictly  prohibited 
the  kitchen.  Why  should  not  music,  games,  pictorials,  and  other 


111 


means  of  recreation  be  provided  for  our  working  men  and  women,  to 
brighten  their  dull  and  monotonous  lives,  in  which  poor  food  and  continu- 
ous labor,  not  only  cause  the  intellect  to  deteriorate,  but  also  impair  the 
physical  and  moral  health  ? 


116 


MODERN  DWELLINGS. 


DESIGN   No.  18. 
First-floor  Plan. 

1.  Maiu  hall;  2.  Parlor,  16 X 25 ;  3.  Billiard-room,  15X21 ;  4.  Library,  15x21 ;  5.  Dining- 
room,  15x20;  6.  Butler's  pautry;  7.  Store-room;  8.  Kitchen,  15x18;  9.  Back  hall; 
10, 10.  Verandas. — Estimated  cost,  $15,000. 

The  illustrations  which  we  give  of  this  design  show  larger  rooms  and 
more  liberal  halls  and  stairways.  The  staircase,  which  is  represented  in 
the  vignette  on  the  opposite  page,  has  a  somewhat  extensive  conserva- 
tory on  the  landing,  while  in  the  hall  itself  the  old  wood  fireplace  re- 
minds us  of  earlier  days,  when  homes  wrere  as  spacious  as  the  hospitality 
they  offered.  From  the  first  landing  there  is  an  alcove  looking  upon 
the  billiard -room,  from  which  visitors  may  witness  the  game,  while  the 
room  itself  is  approached  from  the  right  of  the  stairs.  Both  room  and 
alcove  are  protected  and  sounds  deadened  by  the  introduction  of  heavy 
hangings. 

The  antique  wooden  chest  so  common  in  old  houses,  which  may  be 
carved  in  imitation  of  old  work,  and  bound  together  with  ornamental 
straps  and  hinges,  is  introduced  at  the  foot  of  the  stairs.  This  would 
make  a  convenient  receptacle  for  fuel,  and  its  height  may  be  sufficient  to 

enable  it  to  serve  as  a  seat  or  hat- 
stand. 

We  would  generally  discour- 
age the  use  of  the  modern  appli- 
ance known  as  the  hat-rack.  It 
is  an  awkward  thing  at  best,  from 
whose  pegs  hats  are  continually 

f        4"\A  *  falling.    It  seems  much  more  con- 

|          |     TM    |  Jl  venient  to  place  them  upon  a  ta- 

ble,  while  the  umbrellas  may  be 
deposited  in  a  Japanese  vase,  such 
as  that  shown  at  the  right  of  the 
staircase.  Wraps  and  overcoats 
"might  with  more  propriety  be 
placed  in  a  closet,  where  they  are 
secure,  and  out  of  the  way. 

The  style  of  the  hall  has  somewhat  of  a  Japanese  effect,  though  the 
fireplace  i*  decidedly  of  the  Queen  Anne  period;  and  it  is  remarkable 
how  much  similarity,  or,  rather,  harmony  of  feeling,  exists  between  the 


First-floor  I'lau  of  Design  No.  IS. 


KITCHEN. 


117 


two.  The  Japanese  joinery  is  of  a  thoroughly  honest  construction,  a  feat- 
ure peculiar  to  the  workmanship  of  that  country.  It  is  a  notable  fact 
that  two  schools  of  the  eaine  motive,  though  perhaps  entirely  different  in 


Staircase  Hall,  iu  Design  No.  18. 

treatment,  always  assimilate  and  appear  well  together ;  and,  as  honesty  in 
building  seems  now  the  order  of  the  day,  any  style  which  is  based  upon 
this  principle  should  be  fostered.  This  is  manifested  by  the  fact  that 
some  of  our  best  cabinet-makers,  who  were  first  to  introduce  the  Queen 
Anne  motive  in  their  manufacture,  are  now  showing  some  delightful 
Japanese  feeling  in  their  productions. 


118  MODERN  DWELLINGS. 


CHAPTER  XIX. 

BILLIARD-ROOM. 
Billiards  as  an  Amusement. — Location  of  Room. — Tables. 

IN  a  country  mansion,  especially  if  somewhat  isolated,  so  that  the  oc- 
cupants must,  to  a  great  extent,  depend  upon  their  own  resources  for 
amusement,  a  billiard-table  is  a  great  acquisition.  The  difficulty  usually 
is,  that  it  is  in  a  room  in  some  out-of-the-way  part  of  the  house,  some- 
times in  the  basement,  but  more  frequently  in  the  attic,  approached  by 
narrow  stairs,  and,  at  the  best,  having  low  ceilings  directly  under  the 
roof.  It  is  generally  hot  and  uncomfortable.  For  this  reason,  after 
the  novelty  wears  off,  it  ceases  to  be  attractive,  and  is  little  used.  The 
ladies  of  the  family  complain  that  the  gentlemen  exclude  themselves, 
when  indulging  in  this  amusement,  by  ascending  into  doubtful  regions, 
whither  it  would  seem  an  intrusion  to  follow.  To  prevent  this  exclu- 
siveness,  why  not  accept  the  pastime  as  one  of  the  social  amusements, 
and  give  it  the  same  prominence  as  music  or  cards,  and  let  the  billiard- 
room  be  situated  on  the  parlor  story,  opening,  if  you  please,  directly 
into  the  sitting-room,  where  the  ladies  may  feel  free  to  enter,  and  join 
the  game  if  so  disposed?  Any  amusement  that  is  relegated  to  gentle- 
men alone  is  apt  to  be  considered — and  perhaps  not  without  cause — as 
dangerous  and  demoralizing ;  for  the  fact  of  young  men  assembling  by 
themselves,  without  the  restraint  caused  by  the  presence  of  ladies,  no 
doubt  often  leads  to  dissipation,  or,  at  least,  coarseness.  But  there  is  no 
reason  why  billiards  should  not  be  enjoyed  by  both  sexes ;  and  probably 
the  unpopularity  of  the  game  among  ladies  is  often  caused  by  the  remote- 
ness of  the  billiard-table,  rather  than  any  deep  prejudice  against  it  as  an 
amuKcment.  Hut  if  brought  directly  within  our  families,  where  the 
young  and  old  may  freely  mingle,  there  is  no  reason  why  billiards  should 
not  be  OK  innocent  as  any  other  game.  It  is  certainly  a  healthful  and 
agreeable  exercise,  and  should  be  considered  simply  in  the  light  of  a 
liannleftH  recreation.  It  is  always  a  good  practice,  in  order  to  prevent 
outside  dissipation,  to  provide  something  more  agreeable  at  home.  But 


BILLIARD-ROOM. 


119 


where  children  are  strictly  kept  from  games,  for  fear  of  giving  them  a 
taste  for  such  pleasures,  the  very  prohibition  seems  to  add  to  the  fascina- 
tion exercised  by  amusements  of  this  character,  and,  upon  final  emancipa- 
tion from  parental  rule,  they  are  indulged  in  to  excess. 

It  was  formerly  supposed  that  a  billiard -room  must  be  built  espe- 
cially for  the  purpose,  of  such  a  size  as  to  admit  of  a  six-foot  passage 
on  each  side  of  the  table.  Thus  the  fact  of  the  old  tables,  being  six  feet 


The  Billiard-room. 


wide,  made  it  necessary  to  construct  a  room  of  formidable  dimensions. 
Modern  tables,  however,  are  so  much  reduced  that  an  ordinary  room  of 
fifteen  by  twenty  feet  will  give  sufficient  space.  In  fact,  want  of  room 
is  no  longer  an  impediment,  as  billiard-tables  are  now  made  to  suit  apart- 
ments of  any  size,  and  are  so  ornamental  as  often  to  be  placed  in  one  end 
of  a  parlor.  Indeed,  there  is  an  arrangement  by  which  a  dining -table 
may,  by  a  simple  operation,  be  transformed  into  a  billiard -table.  The 
vignette  given  above  shows  the  interior  of  a  billiard-room,  and  a  table, 
designed  for  Mr.  H.  \V.  Collender. 


jo.. 


MODERN  DWELLINGS. 


DESIGN    No.  19. 
First-floor  Plan. 

1.  Porch;  2.  Vestibule,  12X6;  3.  Hall,  12X23;  4.  Staircase;  5.  Lavatory;  6.  Library, 
14X16;  7.  Back  hall;  8.  Kitchen,  18X15;  9.  Butler's  pautry;  10.  Store-room  ;  11.  Diu- 
iug-room,  18X22;  12.  Billiard-room,  15X20;  13.  Parlor,  18X20;  14.  Verauda;  15.  Side 
entrance. — Estimated  cost,  $16,000. 

This  is  a  design  for  a  brick  or  stone  dwelling,  as  indicated  by  the 
deep  reveals  to  doors  and  windows,  and  the  quoin  construction  on  the 
external  angles.  The  original  idea  was  suggested  by  a  villa  designed  by 
M.  Aubertin,  which  appears  in  "  Habitations  Modernes,"  by  Viollet  le 
Due.  The  present  design,  however,  differs  entirely  in  the  internal  ar- 
rangement, besides  having,  in  addition,  a  tower  and  verandas.  The  en- 
trance vestibule  and  hall  are  spacious,  the  two  measuring  some  thirty  feet. 
At  the  end  of  the  hall  is  the  dining-room,  with  a  central  door.  Opposite 
this,  and  closing  the  vista,  is  a  large  bay-window,  twelve  feet  wide  and 


Design  No.  1!>. 


four  feet  deep,  with  stained  glass  in  the  upper  sash.  The  sideboard,  in 
this  case,  is  placed  opposite  the  fireplace,  a  system  objectionable  in  nar- 
row rooms,  but  here  admissible,  as  the  dining-room  is  sufficiently  wide  to 
afford  free  passage  between  it  and  the  table.  The  staircase  is  somewhat 


BILLIARD-ROOM. 


121 


cut  off  from  the  main  hall,  being  connected  with  it  only  by  a  wide  arch 

opposite  the  parlor  entrance.     There  is  a  stained-glass  window  over  the 

landing,  under  which  is  situated  the  lavatory.     This,  while  being  out  of 

sight,  may  be  approached  from  the 

front    vestibule,    without    passing 

through  the  main  hall.     It  is  also 

convenient  to  the  library,  which, 

acting  the  part  of  business -room 

or  office  for  the  proprietor,  may 

be  reached  by  a  private  entrance. 

In  the  absence  of  the  gentleman 

of  the  house,  the  lady  may  find 

this   a   convenient  boudoir,  easily 

approached  by  the  rear  entrance, 

and  near  the   kitchen  portion   of 

the  house.     The  billiard  -  room  is  Firgt.floor  p|au  of  Desigll  No  ]9 

somewhat    apart    from    the    main 

house,  being  connected  with  it  by  a  private  lobby ;  and  its  interior  walls, 

if  built  of  brick,  will  so  deaden  sounds  that  they  will  be  scarcely  audible 

in  the  adjoining  apartment. 

The  second  story  has  five  bedrooms,  and  as  many  more  may  be  built 
in  the  attic.  The  main  stairs,  which  extend  to  the  top  of  the  tower, 
accommodate  both  attic  and  observatory. 


MODERN  DWELLINGS. 


CHAPTER  XX. 

BLINDS. 
Inside  and  Outside  Shutters. — Venetian  Bliuds. — Shades. — Wire  Screens. 

THE  question  whether  blinds  shall  be  placed  on  the  outside  of  a  frame 
house  or  within,  has  been  in  dispute  since  the  time  that  wood  was 
first  used  as  a  material  for  building.  The  great  objection  urged  against 
inside  blinds  has  been  the  waste  of  room  occasioned  by  the  furring  out  or 
thickening  of  the  walls  necessary  to  accommodate  the  boxes  into  which 
the  blinds  must  fold.  In  stone  or  brick  buildings  this  objection  does  not 
exist,  as  the  necessary  thickness  of  the  walls  affords  sufficient  room  for 

shutter-boxes  without  furring.  In 
single  windows  there  can  be  but  lit- 
tle objection  to  the  blinds  being  ar- 
ranged on  either  plan  ;  but  when 
windows  are  grouped  with  three  or 
more  openings,  both  are  more  or  less 
objectionable.  If  outside  blinds  be 
adopted, the  middle  ones,  when  open, 
necessarily  interfere  with  those  on 
each  side.  It  is  also  difficult  to  make 
the  mullion  wide  enough  to  accom- 
modate inside  shutters  without  pre- 
senting a  heavy  and  awkward  ap- 
pearance. In  England,  the  difficulty 
is  usually  met  by  the  adoption  of 
blinds  that  are  so  arranged  as  to 
draw  up;  the  Venetian,  or  rolling, 
blinds  are  also  popular.  The  fault  of 
these  is,  the  first  offer  no  protection  from  intrusion  from  without,  and  the 
latter  are  too  expensive.  There  is  an  objection  to  each,  however.  When 
the  upper  wish  in  of  stained  glass,  this,  in  itself,  sufficiently  excludes  the 
sun.  It  would  be  superfluous  to  have,  in  addition,  a  shutter,  thereby  ex- 
cluding froln  view  the  rich  effects  of  the  stained  glass.  In  order  to  meet 


interior  of  Bay-wiudow. 


BLINDS.  123 

tills  difficulty,  I  have  devised  an  arrangement  by  which  the  inside  blinds 
may  be  made  to  slide  downward  in  two  sections,  occupying  the  space  be- 
tween the  sill  and  the  floor,  and,  when  raised,  cover  only  the  plate-glass 
portion.  The  centre  openings  in  the  vignette  on  the  preceding  page  illus- 
trate these  blinds  when  down ;  those  at  the  right  when  raised ;  the  open- 
ings on  the  left  show  one  section  at  the  top  and  one  at  the  bottom,  none 
of  which  conflicts  with  the  upper  sash  containing  the  stained  glass.  This 
vignette  represents  the  interior  view  of  the  second-story  bay-window  of 
Design  No.  7. 

The  objection  to  these  blinds  has  been  that  the  louvers,  or  slats,  when 
open,  are  apt  to  bind  against  the  pocket  in  which  they  are  intended  to 
slide,  especially  as  the  rod  connecting  them  is  some  three-eighths  of  an 
inch  in  advance.  A  happy  contrivance  has,  however,  been  devised  by  a 
firm  in  Hartford,  in  which  the  connecting-rod  is  dispensed  with  altogether, 
by  the  introduction  of  a  ratchet  running  the  length  of  the  opening.  This 
is  imbedded  in  the  stile,  and  is  connected  with  the  axle  of  each  louver. 
The  whole  is  worked  by  a  simple  button,  which  is  sunk  below  the  surface. 

The  same  rule  that  applies  to  blinds  when  the  upper  sash  is  of  stained 
glass  holds  good  in  regard  to  shades.  They  should  be  secured  to  the 
lower  sash,  and  arranged  to  slide  with  rings  on  metal  bars,  above  and 
below,  as  represented  in  the  vignette.  The  material  used  should  be  some 
pliant  fabric,  such  as  silk  or  lace. 

Sometimes,  when  there  is  an  ornamental  trimming  about  a  window 
which  involves  the  necessity  of  brackets  extending  over  the  blind,  there  is 
some  difficulty  in  opening  the  shutters.  There  is  a  system,  common  in 
England,  by  which  the  upper  portion  of  the  blind  is  hinged  at  the  top,  so 
that,  when  raised,  it  has  the  effect  of  an  awning,  the  lower  part  being  ar- 
ranged as  usual. 

There  is  a  simple  contrivance  by  which  Venetian  shades,  made  of  black- 
walnut  slats,  turning  like  those  of  the  ordinary  blinds,  are  attached  to  the 
outside  of  the  window  with  an  ornamental  cornice.  They  may  be  drawn 
up  on  the  principle  of  the  old  Venetian  shades,  and  can  be  extended  out 
at  any  angle,  and  thus  made  to  perform  the  duty  of  an  awning.  I  have 
recently  seen  an  admirable  arrangement  of  rolling  Venetian  shutters,  made 
by  Messrs. Wilson  «fe  James,  which  seems  an  excellent  substitute  for  blinds, 
applicable  to  the  inside  or  the  outside  of  a  window.  When  attached  to  a 
veranda  or  porch,  it  has  the  effect  of  converting  either  into  a  room  or  open 
balcony  at  pleasure. 

Blind  doors,  in  addition  to  those  of  panel,  are  often  of  great  benefit  in 
warm  seasons,  as  they  are  not  only  secure,  but  leave  the  air  unobstructed. 


124 


MODERN  DWELLINGS. 


Wire -gauze  frames,  arranged  like  doors,  answer  the  same  purpose,  and 
possess  the  additional  virtue  of  keeping  out  the  flies.  These  are  especially 
desirable  for  windows ;  but  the  manner  in  which  .they  are  usually  ar- 
ranged—which is,  placed  in  the  lower  half  of  the  sash — is  thoroughly 
unscientific,  as  it  is  very  desirable,  in  ventilation,  to  have  an  opening 
above  as  well  as  below.  Therefore,  by  having  a  screen  in  both  sections, 
the  circulation  of  air  will  be  more  perfect. 


Design  No.  20. 

A  little  knowledge  regarding  the  principles  of  air  currents  may  fre- 
quently do  us  good  service.  By  merely  setting  a  blind  at  the  right  angle, 
we  may  often  capture  a  breeze  that  would  otherwise  pass  by.  For  ex- 
ample, in  a  window  facing  south,  if  the  easterly  blind  be  open,  say  at  an 
angle  of  seventy  degrees,  it  will  catch  a  westerly  breeze  and  bring  it  into 
the  room ;  vice  versa,  when  the  wind  is  in  a  contrary  direction. 


DESIGN   No.  20. 
First-floor  Plan. 

1.  Main  hall  15x26;  2.  Parlor,  15X22;  3.  Kill ianl  -room,  15X20;  4.  Dining-room, 
15X20;  f.  Buth-r'H  pantry;  6.  Store -room;  7.  Kitchen,  15  X  18;  8.  Back  stairs;  9. 
Lavatory  10.  Library,  15  X  16;  11.  Rear  porch ;  12.  Veranda;  13.  Carnage  porch. — 
Estimated  -out,  $15,000. 

Though   somewhat   unusual  in   character,  we  think  this  design  em- 
braces many  points  peculiarly  adapted  to  meet  our  American  require- 


BLINDS. 


125 


ments.  The  long,  unbroken  roof  has  the  facility  for  shedding  both  rain 
and  snow,  and  the  broad  verandas,  projecting  canopies,  and  recessed  bal- 
cony afford  ample  shade  at  different 
points  where  fresh  air  and  pleasant 
views  may  be  enjoyed.  The  gener- 
al irregularity  of  the  design  offers 
an  opportunity  for  strong  effects  of 
light  and  shade,  and  may  be  made 
to  harmonize  with  the  varied  and 
picturesque  scenes  of  our  country. 
The  verandas  are  of  unusual  width, 
averaging  from  five  to  fifteen  feet; 
thus  giving  ample  space  for  groups 
to  gather,  without  obstructing  the 
promenade.  The  main  entrance  is 
sheltered  by  a  carnage  porch  sufficiently  large  to  cover  horses  and  vehicle. 
The  hall  is  twenty -six  feet  long  and  fifteen  wide,  independent  of  the 
staircase,  which  occupies  the  L. 

As  in  the  former  design,  the  library  is  convenient  to  the  lavatory,  rear 
entrance,  and  domestic  offices,  while  the  kitchen  has  a  separate  entrance, 
with  a  large  porch  in  the  rear  for  the  benefit  of  the  servants. 


First-floor  Plan  of  Design  No.  20. 


126 


MODERN  DWELLINGS. 


CHAPTER  XXI. 

CARE  NECESSARY  IN  ADAPTING  A  ROOM  TO  FURNITURE. 

Hot-air  Registers. — Location  of  Doors  and  Windows. — Position  for  the  Piano. — Gas- 

fixtnres,  etc. 

SOME  of  the  defects  we  notice  in  modern  apartments  arise  from  the 
fact  that  they  have  been  built  upon  a  half -digested  plan,  in  which 
only  a  portion  of  the  necessary  requirements  have  been  considered.  An 
architect,  in  designing  a  room,  should,  as  it  were,  live  in  it  in  imagina- 
tion before  pronouncing  it  complete.  He  should  consider  for  what  the 
room  is  intended,  its  proximity  to  other  apartments  and  passages,  the 
lights,  the  swing  of  doors ;  and,  in  fact,  it  might  not  be  too  much  to  re- 


Design  No.  21. 

quire  that  every  piece  of  furniture  should  be  included  within  the  plan. 
How  often  we  see  the  hot-air  registers  come  directly  in  the  spaces  pro- 
vided for  piano,  bookcase,  or  bedstead.  Often  doors  cannot  be  opened 
without  interfering  with  passages,  or  encountering  some  obstruction. 
Then,  again,  there  arc  some  important  pieces  of  furniture  that  are  never 


CARE  NECESSARY  IN  ADAPTING  A  ROOM  TO  FURNITURE.     1'27 

calculated  for  at  all ;  for  instance,  the  leaves  of  an  extension-table.  These 
are  never  thought  of,  and  are  either  set  up  on  end  in  the  dining-room 
corner,  looking  awkward  and  disconsolate,  or  else  placed  in  the  butler's 
pantry  or  china  closet,  where  they  are  always  in  the  way.  The  good  old 
maxim,  "A  place  for  everything,  and  everything  in  its  place,"  is  one  of 
the  first  principles  of  good  house-keeping ;  and  it  is  evident  that  a  vast 
number  of  the  many  troubles  to  which  we  are  exposed  might  be  lessened 
by  attention  to  these  matters.  It  is  not  beneath  the  dignity  of  the  man 
of  science  to  study  every  domestic  need,  insignificant  as  it  may  appear. 

A  gentleman  who  had  recently  completed  an  expensive  dwelling  once 
complained  to  me  that  the  neglect  of  such  points  as  these  had  cost  him 
endless  annoyance  and  expense.  lie  said  that  in  his  parlor  there  had 
been  no  adequate  arrangement  made  for  a  piano  or  sofa;  it  was  impos- 
sible to  place  either  in  the  room  without  interfering  with  a  door  or  win- 
dow. The  windows  he  did  not  so  much  regret,  except  that  he  was  obliged 
to  climb  over  the  piano  in  order  to  raise  or  lower  them ;  but  his  wife 
somewhat  objected  to  having  her  seat,  obstructed,  as  she  had  anticipated 
a  delightful  view;  while  the  draughts  upon  the  instrument,  before  the 
season  was  over,  had  materially  affected  its  tone ;  and  when  the  tuner 
was  called  in,  he  discovered  that  the  wires  had  become  rusty,  and  that  a 
new  action  would  be  required.  He  went  on  to  relate,  with  some  feeling, 
how  a  gas-bracket  had  been  placed  directly  behind  a  door  in  the  dining- 
room.  The  first  time  it  was  lighted  was  on  the  occasion  of  a  dinner 
given  to  some  of  his  friends,  expressly  that  they  might  see  the  boasted 
perfections  of  his  mansion.  It  afforded  them  much  amusement,  and  him- 
self unbounded  chagrin,  as  the  servant  entered  from  the  butler's  pantry, 
to  see  the  door  strike  against  the  gas-fixture,  and  a  shower  of  glass  ensue. 
Certainly  the  unfortunate  host  was  excusable  if  he  inwardly  voted  his 
gas-fitter  a  donkey  and  a  villain. 


DESIGN    No.  21. 
First-floor  Plan. 


1.  Entrance  porch;  2.  Vestibule;  3.  Main  Lnll;  4.  Receptiou-room,  15x15;  5.  Library, 
15X22;  6.  Parlor,  15X24;  7.  Dining-room,  15x20;  8.  Butler's  pantry;  9.  Store- 
room ;  10.  Kitchen,  15  X  18 ;  11, 11.  Verandas. — Estimated  cost,  $15,000. 

This  is  a  building  on  a  somewhat  liberal  scale,  having  large  rooms  and 
spacious  halls.     The  main  porch  is  broad,  and  fitted  up  with  permanent 


128 


MODERN  DWELLINGS. 


seats.  There  is  an  alcove  at  the  entrance,  which  could  serve  as  a  vesti- 
bule in  winter.  This  has  hat  and 
coat  closets  on  each  side,  while  the 
lavatory  is  down  a  few  steps,  occu- 
pying the  space  under  the  stair-land- 
ing. The  reception-room  is  on  the 
left  of  the  entrance,  which  might  be 
arranged  as  a  library  in  case  it  should 
be  thought  desirable  to  convert  the 
present  one  into  a  billiard-room.  The 
parlor  is  of  good  size,  being  fifteen 
by  twenty-four  feet,  independent  of 
the  bay-window,  which  projects  five 

feet,  and  is  eleven  feet  wide.     I  will  here  say  that  the  bay-windows  are 
not  included  in  the  dimensions  of  the  rooms  heretofore  given. 


THE  MANSION.  129 


CHAPTER  XXII. 

THE  MANSION. 
Arrangement  of  Roads.  —  Natural  Effect.  —  Planting  of  Trees.  —  View  from  Railway. 


T^HE  subject  of  roads  is  one  that  has  seldom  received  sufficient  atten- 
tion. It  is  essential  that  our  roads  and  walks  should  be  as  systemat- 
ically arranged  as  the  halls  and  apartments  of  our  dwellings.  The 
great  beaut}7  of  a  domain  depends  upon  the  grace  of  its  lines  ;  for,  like 
the  planting  of  trees,  the  laying  -out  of  roads  is  sure  to  be  formal  and 
stilted,  unless  great  care  be  taken  to  produce  a  natural  effect.  It  is, 
of  course,  unnecessary,  at  this  late  day,  to  dilate  upon  the  absurdity  of 
geometrical  arrangement  in  this  department.  That  curves  are  a  necessi- 
ty, both  for  amplifying  and  beautifying  our  grounds,  has  long  since  been 
admitted  ;  but  to  produce  a  curve  which  the  wheels  of  a  carriage  would 
naturally  trace  is  something  which  but  one  person  in  a  hundred  is  capa- 
ble of  achieving.  Downing,  in  speaking  of  planting  trees  in  a  natural 
manner,  says  that  once,  on  account  of  a  pressing  engagement,  he  had  not 
the  time  to  stake  out  the  location  of  every  tree  ;  so  he  threw,  at  ran- 
dom, a  peck  of  potatoes,  one  by  one,  and  directed  the  gardener  to  plant 
a  tree  where  each  potato  fell.  If  this  had  not  the  effect  of  grouping 
them  scientifically,  it  certainly  gave  the  appearance  of  natural  arrange- 
ment. A  rule  similar  to  this,  though  rude  of  its  kind,  may  be  given  to 
produce  a  natural  curve  to  the  road.  Drive  your  carriage,  or  even  an 
ox-cart,  over  the  ground  in  the  direction  by  which  yon  wish  to  reach 
the  house,  and  the  tracks  which  the  wheels  make  will  almost  invariably 
have  an  easy  and  natural  appearance,  although,  as  in  the  former  case, 
perhaps  the  effect  will  not  be  as  graceful  as  if  the  matter  had  been  ar- 
ranged by  a  landscape  gardener. 

As  a  general  rule,  the  fewer  roads  we  have  on  a  small  estate  the  bet- 
ter. The  expense  of  making  and  keeping  them  in  order  is  not  only  di- 
minished, but  the  effect  of  an  unbroken  lawn  is  secured,  and  the  grounds 
naturally  appear  larger.  For  example,  a  winding  road  with  the  trees  so 

9 


130 


MODERN  DWELLINGS. 


disposed  as  to  lose  certain  views,  and  catcli  them  again  from  another  di- 
rection, presents  the  idea  of  different  scenes.  So,  too,  certain  perspective 
effects  may  be  produced  by  planting  smaller  trees,  which  have  the  effect 


Design  No.  22. 

of  being  diminished  by  distance.  Mr.  Lowden,  in  writing  on  this  subject, 
lias  gone  so  far  as  to  suggest  that  a  small  breed  of  cattle  should  browse 
in  an  adjoining  field ;  and  he  states  that  the  Kerry  cow  is  so  small  that 
it  will  nearly  double  the  apparent  distance. 

A  road  which  shall  run  around  the  house  is  to  be  preferred  to  the 
usual  device  of  a  circle  in  front.  This  not  only  forms  an  approach  to 
the  different  entrances,  but  obviates  the  necessity  of  backing  carts  upon 
the  grass — a  difficulty  which  so  frequently  occurs,  though  easily  avoided 
in  a  well-studied  plan.  It  does  not,  however,  necessitate  the  passage  of 
business  vehicles  before  the  front  door,  as  a  private  entrance  to  the  sta- 
ble is  continually  required,  which  may  also  serve  as  a  passage  for  trades- 
jHM>ple. 

There  is  one  point  of  view  from  which  a  country  place  is  seen  by 
paasere-by  more  frequently  than  from  any  other;  and,  strange  to  say, 
this  is  most  generally  lost  sight  of  in  arranging  our  buildings  and  lay- 
ing-out  our  grounds.  The  point  in  question  is  the  railway;  toward 


Tin;  MANSION. 


131 


which  —  the  main  artery  of  travel  —  are  usually  turned  our  back  yards 
and  cattle-sheds.  It  is  often  remarked  that  we  see  but  the  poorest  part 
of  a  town  when  passing  through  it  upon  the  railroad,  and  the  railway- 
station  generally  presents  the  least  inviting  aspect  of  any  building  in 
the  town.  This  seems  an  extraordinary  oversight,  for  the  reason  that  we 
wish  to  give  the  public  a  favorable  impression,  in  order  to  attract  new- 
comers. 

While  on  this  subject,  it  may  not,  perhaps,  be  inappropriate  to  offer  a 
few  remarks  on  railroad  improvements  generally.  It  is  now  received  as 
an  axiom  in  political  economy  that  the  construction  of  railways  from 
large  cities  through  the  rural  districts,  not  only  increases  the  population 
and  industry  of  such  districts,  but  must  act  as  most  effective  agents  of 
social  reform.  The  natural  overflow  from  the  city  into  the  country  nec- 
essarily carries  with  it  an  element  of  refinement  and  culture,  so  that  we 
find  society,  in  every  village  which  is  touched  by  a  railroad,  slowly  and 
surely  improving,  as  is  plainly  shown  in  the  vanishing  of  old  prejudices 


Grand  Staircase, 


in  the  matter  of  architecture,  before  the  healthy  example  of  the  rustica- 
ting citizen  who  builds  his  elegant  villa  or  picturesque  cottage  in  the 
neighborhood.  It  is  certainly  reasonable  to  suppose  that  railway  compa- 


132 


MODERN  DWELLINGS. 


nies  themselves,  being  thus  the  great  civilizing  agencies,  would  be  fore- 
most in  setting  examples  of  improved  taste  and  culture  before  the  peo- 
ple, by  building  stations  along  their  lines,  which 
pii  should  be  agreeable  objects  to  look  upon,  and 

stand  as  models  of  design.  Such  seed,  though 
thrown  by  the  way-side,  would  not  be  lost,  but 
would  surely  bear  its  fruits  in  the  increased  re- 
finement of  rural  sentiment,  and  the  greater  de- 
mand for  country  places.  Usually,  however, 

these  stations,  even  on 
our  most  prominent 
roads,  are  of  the  most 
uninviting  and  even 
ridiculous  appearance. 
When  they  are  not  beg- 
garly, they  are  often  ab- 
surdly pretentious.  We 
are  glad  to  note,  how- 
ever, that  in  some  in- 
dividual instances,  evi- 
dences of  an  improved 
taste  and  a  refined  feel- 
ing for  elegance  and 
propriety  is  shown.  We 
wish  that  the  stranger 
entering  an  American  town  or  village  were  welcomed  by  something  more 
inviting  tlian  those  rude  sheds  under  which  he  usually  shakes  off  the  dust 
of  travel. 

Perhaps  nothing  more  readily  attracts  the  attention  of  the  American 
traveller  abroad  than  the  beautiful  little  stations  which,  with  endless  vari- 
ety, are  dotted  along  the  railway  webs  of  Great  Britain  and  the  Conti- 
nent. There  travelling  is  a  luxury,  not  only  on  account  of  the  assurance 
of  safety  and  the  splendid  fitting  of  the  carriages,  but  also  by  reason  of 
the  tasteful  little  stations  which,  while  they  charm  the  eye  by  their  agree- 
able exteriors,  do  not  fail  to  comfort  the  weary  traveller  by  means  of  the 
perfection  of  their  interior  arrangements. 


First-floor  Pl:in  of  Dcsijrn  No.  22. 


THE  MANSION.  133 

DESIGN   No.  22. 
First-floor  Plan. 

1.  Veranda;  2.  Entrance  lobby;  3.  Lavatory;  4.  Passage;  5.  Hat  closet;  6.  Elevator; 
7.  Billiard-room,  16x22;  8.  Conservatory,  12X48;  9.  Tea-room,  13x16;  10.  Hall, 
22X40;  11.  Hall  fireplace,  7 X 9 ;  12.  Reception-room,  17x21;  13.  Parlor,  17x34; 
14.  Dining-room,  17x28;  15.  China  closet;  16.  Butler's  pantry;  17.  Library.  16x22; 
18.  Office,  13X16;  19.  Kitchen,  15x17;  20.  Laundry,  13X17;  21.  Servants'  hall, 
14  X  17 ;  22.  Servants'  porch  ;  23.  Back  hall ;  24.  House  -  keeper's  room,  14  X  16 ; 
25.  Store-room;  26.  Boots;  27.  Scullery;  28.  Gun-room. 

The  mansion,  as  compared  with  the  cottage,  is  like  a  full-grown  man 
compared  with  a  child.  It  not  only  surpasses  the  cottage  in  size,  but  also 
in  general  comprehensiveness  and  refinement.  In  the  former,  we  expect 
to  find  all  that  can  minister  to  convenience  and  comfort,  as  well  as  ex- 
press the  artistic  and  hospitable  tastes  of  a  cultivated  family. 

In  this  design  the  spacious  porch  seems  to  give  an  assurance  of  wel- 
come as  we  enter.  From  the  broad  veranda,  with  its  hundred  feet  of 
walk,  admission  may  be  had  to  the  various  rooms  along  its  path  by  means 
of  windows  reaching  to  the  floor.  At  the  right  of  the  entrance-lobby  is  a 
commodious  dressing-room,  with  hat  closet.  Farther  on  is  a  lift,  or  hand- 
elevator,  running  from  basement  to  attic,  used  for  domestic  purposes.  Be- 
ing near  the  front  entrance,  it  can  be  utilized  for  transporting  trunks  and 
other  luggage.  It  might  be  well  if  it  were  divided  into  two  stories,  the 
upper  for  the  accommodation  of  old  people  and  invalids.  This  is  one  of 
the  modern  improvements  which  has  become  regarded  as  almost  indis- 
pensable in  first-class  houses.  On  the  left  is  a  reception-room,  and  be- 
yond this  the  parlor,  which,  including  the  bay-window,  is  thirty-five  feet 
long. 

In  the  rear  of  the  parlor  is  the  dining-room.  This  contains  a  china 
closet  and  butler's  pantry,  the  latter  communicating  with  the  kitchen. 
Beyond,  and  opening  into  the  back  hall  (which  is  entirely  cut  off  from  the 
main  house),  are  the  laundry,  servants'  hall,  house-keeper's  room,  store- 
room, scullery,  boot  and  gun  room.  The  library  and  office  are  separated 
either  by  curtains  or  folding-doors. 

The  principal  feature  of  this  house  is  the  grand  (or  staircase)  hall,  from 
which  all  the  living-rooms  are  accessible.  The  entrance  vestibule  com- 
municates directly  with  the  reception-room.  The  main  hall  is  so  retired 
that  it  may  be  used  for  family  gatherings.  Its  great  attraction  is  the 
generous  old  fireplace,  ten  feet  wide  and  seven  deep,  forming  a  spacious 


134 


MODERN  DWELLINGS. 


alcove,  in  which  settles  may  be  placed,  accommodating  a  party  of  six  or 
ci«'ht  persons.  Here  we  realize  the  poetical  idea  of  the  chimney-corner, 
around  which  so  many  tender  memories  of  early  days  are  centred.  There, 
in  onr  childhood,  our  first  Bible  lessons  were  vividly  impressed  upon  our 
minds  from  the  texts  and  more  remarkable  events  illustrated  upon  the  old 
Dutch  tiles  around  its  margin.  There  we  listened  to  endless  ghost-stories, 
which  made  "  each  particular  hair  to  stand  on  end,"  while  we  drew  imagi- 


Bedroum,  iu  Design  No. 


nary  portraits  of  the  goblins  in  the  burning  embers,  and  the  legend  of 
Santa  Clans  seemed  not  improbable  while  we  peered  up  into  that  great 
chimney.  It  is  pleasant,  too,  to  recall  the  holiday  games  played  without 
check  in  the  old  hall,  while  the  yule-log  burned  merrily  upon  the  fire-dogs. 
It  has  often  been  argued  that  open  fireplaces  may  be  very  picturesque 
and  poetical,  but  that,  in  cold  weather,  they  certainly  do  not  warm  our 
rooms ;  and  we  have  often  heard  our  grandmothers,  who  were  brought  up 
in  the  time  of  open  fireplaces,  and  proportionately  open  crevices,  state  that 
while  their  faces  were  being  scorched,  their  backs  were  freezing.  Frank- 
lin, in  endeavoring  to  estimate  what  proportion  of  heat  from  the  ordi- 
nary fireplace  of  the  period  came  into  the  room,  and  what  escaped  up  the 


Tin:  MANSION.  135 

chimney,  came  to  the  conclusion  that  ninety -live  per  cent,  was  wasted. 
Out  of  this  discovery  came  his  great  invention,  the  Franklin  stove,  which 
has  gradually  degenerated  into  the  thonsand-and-one  so-called  improve- 
ments of  stoves  now  in  common  use,  most  of  them  serving  only  to  con- 
sume the  vital  properties  of  the  atmosphere,  no  arrangements  being  made 
for  proper  ventilation  in  the  apartments  where  they  are  located. 

I  can  remember  in  my  childhood  an  invention  of  my  grandfather's, 
which  he  termed  the  "  iron  back-log."  It  consisted  of  a  cast-iron  box,  to 
take  the  place  of  the  ordinary  back-log.  The  air  from  without,  being  ad- 
mitted into  the  cavity,  became  heated,  and  was  introduced  into  the  room 
through  a  pipe  similar  to  that  of  the  modern  register.  This,  while  detract 
ing  nothing  from  the  radiation  of  the  fire,  secured  a  large  amount  of  addi- 
tional heat ;  and  it  may  not  be  conceited  for  me  to  state  that  I  believe  this 
was  the  germ  from  which  hot-air  furnaces  have  been  developed.  Precise- 
ly the  same  idea  is  now  carried  out  in  connection  with  grates.  In  place 
of  the  usual  back  lining  of  soapstone,  there  is  a  small  iron  chamber  intro- 
duced, from  which  the  hot  air  is  allowed  to  escape  into  the  apartment 
through  a  perforation  under  the  mantel-shelf.  This  is  almost  as  economi- 
cal as  the  stove,  and  it  possesses  the  additional  advantage  of  introducing 
fresh  air  into  the  room,  at  the  same  time  affording  means  of  escape  for 
foul. 

Worcester  says,  in  defining  the  word  "  hall,"  that,  as  applied  nowadays, 
it  is  perhaps  improperly  used.  A  simple  passage-way  from  an  entrance  is 
not,  correctly  speaking,  a  hall.  A  few  of  his  definitions  read  as  follows: 
Porch,  a  covered  station  ;  Portico,  a  covered  walk  outside  the  building. 
A  vestibule  is  a  "  fore-room,"  and  a  hall  is  the  "  first  large  room  within  a 
building,  both  serving  as  an  entrance."  During  the  Middle  Ages,  and 
down  to  the  Georgian  period,  this  apartment,  with  its  spacious  and  curi- 
ously constructed  fireplace,  was  always  one  of  the  largest  in  the  mansion, 
and  usually  the  most  cheerful.  It  was  the  general  assembly  or  living 
room  of  the  family,  from  which  the  other  apartments  were  entered.  The 
stairs  were  elaborately  carved,  leading,  with  broad  landings  and  unex- 
pected turns,  into  chambers  and  corridors;  and  the  irregularity  of  the 
stories  were  frequently  overcome  by  an  ingenious  adjustment  of  these 
landings.  The  windows  were  never  made  to  appear  symmetrical  on  the 
outside,  but  were  placed  here  and  there,  as  the  vagaries  of  the  stairs  re- 
quired. Paint  and  plaster  were  but  little  known  in  the  simplicity  of  con- 
struction common  among  our  forefathers;  and  the  rafters  themselves, 
being  forced  to  appear,  were  carved  and  moulded  in  various  ways,  thus 
becoming  an  ornament  to  the  apartment.  If  the  walls  of  masonry  aj» 


136 


MODERN  DWELLINGS. 


peared  cold,  they  were  sometimes  decorated  with  tapestry  hangings,  the 
bases  being  wainscoted  with  bold  and  honest  panelling. 

In  attempting,  therefore,  to  revive  the  ancient  styles,  it  would  be  well 

to  study  the  interior  as 
wTell  as  the  exterior  of 
some  of  the  dwellings  of 
the  period,  and,when  con- 
sistent with  modern  uses, 
adapt  their  distinctive 
features  to  the  require- 
ments of  the  present  day. 
We  have  attempted  such 

MM!  •  -vival  in   the  grand 

hall.  The  tea-room,  con- 
servatory,  and  billiard- 
room  complete  the  ar- 
rangement of  this  floor. 
The  second  story  con- 
tains a  hall  similar  to  the 
lower  one,  which  might 
serve  as  the  children's 
playroom.  This  and  the 
third  story  together  con- 
tain twenty  bedrooms, 
liberally  supplied  with 
closets,  bath  and  dressing  rooms.  The  attic  is  a  full  story,  and  has  a  loft 
over  the  entire  ceiling. 

The  external  walls  of  the  building  are  of  hard-burnt  brick ;  the  angles 
and  openings  of  pressed,  and  the  string-courses  of  moulded,  brick.  Black 
or  colored  brick,  and  even  illuminated  tiles,  may  be  worked  in  with  pleas- 
ing results.  If  thought  desirable,  tile-hanging  might  be  introduced  on  the 
third  or  attic  story,  which  would  serve  in  a  measure  to  relieve  the  height 
of  the  wall.  As  a  good  contrast,  the  main  and  veranda  roofs  might  be 
of  green  slate,  without  pattern ;  and  if  the  wood-work  could  be  of  pitch- 
pine,  oiled,  it  would  also  harmonize.  The  ceilings  of  the  veranda,  porch, 
and  balcony  might  be  of  ultramarine  blue,  picked  out  either  with  buff  or 
red.  On  the  kitchen-chimney  panel  I  have  designed  a  sundial.  This  was 
quite  common  on  old  buildings,  and  is  both  useful  and  ornamental. 

A  favorite  custom  in  Gothic  architecture  is  that  of  placing  a  series  of 
windows  near  together,  divided  simply  by  lines  or  mullions.  This  is  ob- 


Corner  Mulliou,  in  DCMJJU  No.  22. 


THE  MANSION.  137 

jectionable,  inasmuch  as  they  cut  up  the  wall  surface,  leaving  no  place  for 
furniture.  In  bedrooms,  especially,  we  require  broad  piers,  with  windows 
on  each  side  for  the  accommodation  of  dressing-tables;  and  unless  we 
resort  to  the  system,  shown  in  the  illustration,  of  placing  the  windows 
above  the  furniture,  considerable  difficulty  is  experienced.  There  is  a 
similar  objection  on  the  outside ;  as  here,  by  cutting  up  the  broad  surface, 
on  which  we  rely  for  dignity  and  repose,  the  design  seems  to  be  attenu- 
ated and  frittered  away.  The  difficulty,  however,  may  be  happily  over- 
come by  the  introduction  of  a  very  picturesque  feature  peculiar  to  this 
style,  known  as  the  corner  mullion.  It  consists  in  placing  the  division  im- 
mediately in  the  angle,  and  arranging  the  windows  each  side,  instead  of 
grouping  them  along  the  walls.  The  vignette  showing  the  gable  over  the 
billiard-room  illustrates  the  method  by  which  this  is  accomplished. 

Frequently  in  living-rooms,  where  two  sides  of  the  apartment  are 
taken  up  with  fireplace  and  sliding-doors,  and  the  other  two  have  win- 
dows, from  the  fact  of  these  being  in  the  centre  there  is  absolutely  no 
place  for  piano,  bookcase,  sideboard,  or,  indeed,  any  large  piece  of  furni- 
ture. If,  however,  the  windows  are  placed  in  the  angle,  the  entire  wall 
becomes  available. 

The  vignette  shows  an  interior  in  which  ample  space  for  a  dressing- 
table  between  the  windows  is  allowed,  in  consequence  of  the  corner-mul- 
lion  system  having  been  adopted.  Room  for  two  bureaus,  with  a  large 
mirror  between,  is  also  obtained.  The  glass  could  readily  be  made  to 
swing,  and  sufficient  space  allowed  for  a  hanging  closet  behind. 


138  MODERN  DWELLINGS. 


CHAPTER   XXIII. 

CITY  ARCHITECTURE. 
The  Law  of  Alignment.  —  Amusing  Story  by  tbe  Rev.  Walter  Mitchell. 


is  one  point,  connected  with  city  architecture,  which  lias  been 
uppermost  in  my  mind  for  some  years  past  ;  that  is,  the  incongruity 
of  the  buildings  along  our  streets.  We  find  every  twenty  -five  feet  a 
specimen  of  some  artistic  style  of  building  which,  if  it  pervaded  the 
whole  block,  might  give  a  breadth  and  grandeur  to  the  entire  fa<;acje. 
As  it  is,  each  man  builds  solely  on  his  own  account,  without  regard  to 
the  height  and  style  of  his  neighbor.  One,  we  will  say,  has  put  up  a  lS"e- 
ogrec  building  on  lot  210,  and  his  neighbor  goes  and  builds  along-side  of 
him  an  iron  structure  of  the  Renaissance  order.  Now,  if  both  were  either 
Neogrec  or  Renaissance,  although  sufficiently  different  in  design  to  mark 
the  property  of  each,  a  good  effect  would  be  produced.  Then,  again, 
in  order  to  give  prominence,  one  makes  his  cornice  tower  above  that  of 
the  other.  Possibly  a  great  deal  more  fault  might  justly  be  found  with 
the  architect  than  with  the  owner;  for  if  the  former  had  the  strength  of 
mind  to  come  out  boldly  and  oppose  these  heresies,  a  great  amount  of 
good  might  be  accomplished.  It  is  evidently  the  architect's  duty,  in  de- 
signing a  city  house,  to  consider  his  surroundings,  and,  by  a  judicious 
adaptation  of  his  design,  to  "sandwich"  his  building  in  such  a  manner 
as  to  harmonize  with  the  neighboring  masses.  Clients  are  generally  will- 
ing to  be  influenced  by  their  architect;  and  if  good  reasons  are  advanced 
for  opposing  their  pet  notions,  they  are  usually  found  to  have  their 
weight. 

It  may  be  thought  that  in  our  republican  country  —  where  it  is  the  es- 
pecial privilege  of  every  citizen  to  commit  whatever  enormity  he  pleases 
--it  would  be  considered  egregious  tyranny  to  have  any  legislation  on  the 
subject;  hut  in  France  some  of  the  finest  architectural  effects  are  the  re- 
sult of  what  is  known  as  the  law  of  alifjnement.  We,  in  reality,  have  such 
a  law,  namely,  thsit  buildings  shall  not  go  beyond  a  certain  line  on  the 
street.  The  French  simply  carry  this  a  little  farther  by  regulating  the 


CITY  ARCHITECTURE. 


139 


lines  of  stories,  so  that  no  cornice  shall  be  built  above  a  certain  height. 
Thus,  in  order  to  attain  greater  accommodatiOB,  builders  found  themselves 
compelled  to  extend  the  roofs,  which  were  frequently  run  up  to  the  height 
of  two  or  three  stories.  This  was  the  origin  of  the  Mansard  roof.  If  our 
legislators  would  really  take  the  matter  in  hand,  and  look  to  the  ultimate 
advantage  of  beautifying  our  cities,  they  might,  without  tyranny,  pass 
some  law  whose  effect  would  be  to  encourage  this  reform.  By  granting 
an  abatement  of  taxes,  or  some  other  privilege,  many  persons  might  be 
induced  to  submit  their  designs  to  the  censorship  of  a  commission,  whose 
duty  it  should  be  to  secure  harmony  as  far  as  possible. 


Design  No.  23. 

In  a  book  of  mine  published  some  years  ago — at  the  time  when  the 
New  York  Post-office  was  just  commenced,  and  Barman's  Museum  was 
still  fresh  in  the  memory  of  children  and  our  country  cousins — I  expressed 
some  of  these  sentiments  on  the  laws  of  alignment.  My  remarks  sug- 
gested to  the  Rev.  Walter  Mitchell  the  following  humorous  effusion  : 

"  For  the  last  six  weeks  we  have  been  entertaining  that  intelligent  Zulu 
whom  Bishop  Colenso  'took  for  his  pal.'  We  have  shown  him  our  city 
by  daylight  and  by  gaslight.  We  have  striven  to  impress  upon  him  its 
wonderful  superiority  to  the  principal  village  of  Pennsylvania  and  to  the 


140  MODERN  DWELLINGS. 

chief  hamlet  of  Massachusetts.  We  have  convinced  him,  aided  by  those 
statistical  arguments  so  potent  with  his  right  reverend  father,  by  the  grace 
of  mathematics,  that  all  the  world  (west  of  the  Atlantic)  comes  hither  to 
buy  goods,  and  that  the  remaining  part  (east  of  the  same)  is  fast  coming 
hither  to  obtain  through  emigration-tickets  to  Pike's  Peak  and  Denver 
City.  We  have  pointed  out  to  him  a  drummer  ensnaring  a  fly — we  mean 
a  spider  entrapping  a  Western  merchant ;  we  have  taken  him  to  the  Amer- 
ican Museum  (late  Scudder's,  now  Banmm's),  to  the  Central  Park,  and  to 
the  Washington  Market.  We  have  initiated  him  into  our  social  life, 
shown  him  how  our  houses  are  built,  lived  in,  and  disposed  of  at  enor- 
mous rents.  At  the  close  of  our  exhausting  labors,  we  (this  is  not  the  plu- 
ral is  majestatls  of  the  editor's  chair,  but  signifies  self  and  chum)  asked  our 
friend  what  had  most  struck  his  fancy  in  the  Empire  City. 

"Without  hesitation  he  said, '  Your  architects.'  '  Our  architecture,  you 
mean,'  said  we,  thinking  it  was  a  foreigner's  natural  blunder  in  our  diffi- 
cult language. 

" '  No,  no,'  replied  he,  'your  architects.'  (We  do  not  mind  saying  that 
this  is  our  profession ;  vide  our  design  for  new  dressing-rooms  at  the  Fifth 
Avenue  Skating-pond.)  We  blushed  crimson  in  our  four  cheeks,  and  were 
on  the  point  of  inquiring  as  to  the  opening  in  Natal  for  two  young  men 
of  unquestioned  genius  and  unanswered  proposals,  when  our  friend  con- 
tinued, '  Your  architects  have  seized  the  dominant  ideas  of  New  York. 
Every  stranger  who  comes  to  New  York  comes  to  buy  or  to  sell  some- 
thing. The  men  from  the  West  come  to  buy,  the  men  from  the  East 
come  to  sell — their  raw  material,  I  think  you  call  it — in  the  shape  of  mus- 
cle. Every  Western  man  I  have  been  introduced  to  appears  to  be  inspired 
with  two  ideas;  the  first  is  to  take  a  drink;  the  second  is  to  build  a  city. 
The  one  he  does  on  the  spot;  for  the  other, like  Herbert  in  the  story-book, 
"he  looks  about  him."  Your  common  shopkeepers  put  their  goods  in 
their  windows,  their  advertisements  in  the  newspapers,  and  send  their 
drummers  to  board  at  the  Cortlandt  Street  hotels.  But  your  architects 
advertise  themselves  all  over  the  streets.  If  a  man  wants  to  build  a  mar- 
ble city,  he  can  see  a  dozen  patterns  in  one  block.  If  he  would  rather 
build  a  brown-stone  city,  there  are  five  styles  between.  If  he  likes  a  red- 
brick metropolis,  next  door  there  is  a  fine  sketch  in  outline.  If  he  prefers 
yellow  brick,  he  has  only  to  walk  round  the  corner.  I  see  in  my  walks 
that  you  do  not  build  the  whole  house  of  your  materials — only  the  parts, 
so  that  you  can  take  down  the  old  pattern,  when  it  is  dirty  or  cracked,  ano^ 
put  up  a  new  one.  Your  Broadway  is  the  most  superb  pattern-card  of 
new  cities  which  I  have  ever  seen.  I  walk  down  it  till  I  get  to  the  Park, 


CITY  ARCHITECTURE.  141 

and  then  I  stop  and  rest  my  eyes  at  the  fence  which  is  built  up  around 
your  new  Court-house.  I  rest  my  eyes  in  beholding  that  splendid  tri- 
umph of  the  printer — another  great  New  York  artist — which  you  told  me 
the  corporation  have  put  up  to  teach  the  little  street  children  their  alpha- 
bets. I  read  that  "Mr.  and  Mrs.  Barney  Will. — FAUST,  New  Op. — 1:1  <>i 
LKA  TMKKMO  s:  T:  X  PLE  AT  A  HORSTEREOPTICON  "  until  my  head  goes 
round,  and  my  eyes  are  very  much  rested  indeed,  and  I  think  how  ex- 
actly it  represents  in  little  what  I  have  been  looking  at  for  three  miles 
back,  and  which  I  ride  on  top  of  the  omnibuses  to  enjoy.  When  I  make 
my  fortune  in  Wall  Street,  I  will  build  a  city.  I  will  take  my  architect, 
and  a  large  number  of  just-landed  men  of  muscle,  and  we  will  walk  up 
Broadway.  He  will  point  out  to  me  the  different  patterns.  When  I  de- 
cide, I  shall  only  have  to  say  to  the  intelligent  gentlemen  from  Galway, 
"  Build  me  a  metropolis  like  49  or  56,"  and  they  will  answer,  "  Yis,  yr' 
honor."  "And  go  and  build  it —  Then  we  will  all  go  and  live  there 
as  soon  as  possible,  and  never  come  to  New  York  again  till  we  wear  it 
out,  or  burn  down  our  city,  and  want  to  see  the  latest  spring  styles  or  fall 
patterns  once  more.' 

"  I  confess  wre  were  a  little  shocked  at  these  heresies  of  the  intelligent 
Zulu ;  and,  to  relieve  our  minds,  arranged  for  a  visit  to  the  Central  Park 
the  next  day.  We  went  thither  by  that  admirable  institution,  the  Third 
Avenue  car,  holding  on  to  small  leathern  straps,  and  contemplating  high 
art  in  the  pictorial  embellishments  of  what  my  chum  architecturally  calls 
the  frieze  of  those  spacious  and  luxurious  vehicles. 

"  We  own  to  a  thrill  of  pride  as  we  looked  down  from  the  observatory 
upon  that  triumph  of  the  topiary  art.  '  You  have  seen,'  we  cried,  '  the 
Bois  de  Boulogne,  Ily'  Park,  the  Prater,  the  Thier-Garten  of  Berlin,  and 
the  Englische  Garten  of  Munich,  the  lovely  Cascine  of  Florence,  and  Bos- 
ton Common ;  own,  my  friend,  on  the  faith  of  a  Kaffir,  that  they  cannot 
hold  a  candle  to  this.' 

" '  My  New  York  innocents,'  replied  he, '  I  do  not  wish  them  to  hold  a 
candle  or  a  calcium  light,  or  even  to  offer  a  match  to  your  Central  Park ; 
for  surely  it  would  then  disclose  that  your  diamond — and  it  is  of  the  first 
(and  Croton)  water — lacks  a  setting.  In  my  favored  land,  when  a  young 
beauty  discovers  that  she  is  lovely,  she  suffers  not  her  nose  to  lack  a  ring. 
When  one  of  your  beauties  has  a  large  jewel,  she  does  not  have  it  set  in 
copper  or  in  tin.  Still  less  does  she  dress  in  a  robe  made  of  patchwork — 
a  bit  of  moire  antique,  and  a  shred  of  lace,  and  scarf  of  barege,  and  a  tatter 
of  calico  sewed  into  the  same  breadth.  Paris  has  taught  American  ladies 
to  dress ;  can  it  not  teach  their  papas  to  build  {  Your  Central  Park  is  at 


142  MODERN  DWELLINGS. 

present  surrounded  by  a  fine  assortment  of  cellars  and  Irish  shanties.  It 
looks  unfinished,  but  not  deformed.  Everybody  accepts  the  long  legs  and 
rough  coat  of  the  colt  as  matters  of  course,  and  can  see  the  future  beauty 
of  the  winner  of  the  Derby  in  its  promise.  But  a  thing  once  deliberately 
spoiled,  especially  a  thing  of  beauty,  is  a  nightmare  forever.  Don't  set 
your  diamond  in  tin.  Don't  dress  your  belle  after  the  pattern  of  an  Ojib- 
beway  squaw.  I'll  tell  you  what  I  think  of  your  Broadway.  It  reminds 
me  of  that  torch-light  procession  you  showed  me,  where  there  were  a  dozen 
military  bands  playing  different  tunes.  There  was  a  great  noise,  and  it 
only  wanted  that  each  performer  should  play  on  his  own  account,  without 
needing  the  key  of  his  neighbor,  to  make  the  resemblance  perfect.  You 
surely  are  not  blind  to  this.  When  your  friend,  the  great  dry-goods  seller, 
whose  villa  you  hope  to  build  next  summer  (and  I  hope  you  may),  gets 
through  his  work,  he  does  not  pile  all  his  fabrics  on  the  counter  and 
stand  looking  at  them  for  pleasure ;  he  goes  home  to  a  dwelling  where 
his  curtains,  and  his  carpets,  and  his  bookbindings,  and  wall-paper,  and 
pictures  all  harmonize.  When  your  young  friend  Kit-cat  wishes  to  draw 
a  funny  picture,  I  observe  he  generally  puts  a  little  fat  man  beside  a  tall, 
lean  one.  In  his  Academy  picture  last  summer  of  the  Seventh  Regiment 
marching  down  Broadway,  I  noticed  that  the  tops  of  their  caps  were  tan- 
gential to  a  line  as  straight  as  his  rule  could  make  it,  but  the  houses  in  his 
background  were  like  the  awkward  squad  of  a  country  militia  training.' 

"'But,' we  broke  in,  'you  can't  drill  houses  as  you  can  the  Seventh. 
Every  man  is  his  own  master,  and  builds  his  house  to  suit  himself.  And 
after  the  houses  or  shops  are  built,  you  cannot  shift  them  about  till  you 
get  the  right  effect.' 

" '  That  is  all  as  true  as  need  be,  my  young  Ruskin ;  but  what  is  the 
need  of  being  unaccommodating?  Your  people  are  naturally  polite.  I 
notice  that  in  your  omnibuses  they  keep  their  elbows  to  themselves  and 
their  feet  tucked  in.  Why  should  Jones,  who  is  to  build  upon  that  vacant 
cellar,  insist  upon  having  his  rooms  two  inches  higher  than  Smith,  who 
will  build  next  him 2  He  may  think  brick,  with  brown- stone  dressings 
and  a  French  roof,  prettier  than  white  marble  and  a  balustrade  cornice; 
but,  side  by  side,  neither  is  pretty.  In  a  country  town,  where  each  house 
stands  in  its  own  grounds,  variety  (within  limits)  is  charming.  So,  in  a 
concert,  it  is  pleasant  to  have  a  ballad  and  then  an  instrumental  solo ;  but 
think  of  an  opera  without  a  theme  and  without  a  plot — an  opera  pot-pourri 
of  Mendelssohn,  and  Mozart,  and  Verdi,  and  Balfe,  and  Beethoven,  and 
Meyerbeer,  and  Donizetti,  and  Adam,  and  Rossini,  all  served  up  in  five- 
minute  slices,  just  the  same  length  to  each  composer,  and  the  one  strain 


CITY  ARCHITECTURE.  143 

cut  short  off  for  the  next !  That  is  what  your  city  is.  Jones  has  no  right, 
I  say,  to  spoil  Smith's  front  by  his  own;  ami  Smith  has  no  right  to  spoil 
his;  and  you  and  I,  who  want  to  enjoy  our  Central  Park,  have  a  right  to 
say  that  the  two  blockheads  shall  riot  spoil  it  for  us.  A  park  is  the  very 
noblest  chance  for  display  of  architecture  that  can  be  had.  Vuur  narrow 
streets — and  they  are  narrow — are  ill-adapted  for  the  best  work,  because 
it  is  never  seen  by  anybody  except  the  woman  who  washes  the  opposite 
windows.  But  a  square — a  park  or  place — is  the  architect's  opportunity. 
Mind,  I  have  no  objection  to  a  palace  anywhere,  if  it  is  a  palace.  "When 
Stewart  wants  one  to  put  his  silks  and  cottons  in,  I  should  like  him  to 
have  one,  taking  ground  enough  to  build  it.  When  I  first  landed,  I 
thought  it  was  your  famous  White  House  we  hear  so  much  about  in 
Natal ;  and  I  looked  for  the  sentry-boxes  at  the  entrance,  and  wondered 
where  the  big  Swiss,  with  his  cocked  hat  and  mace,  had  gone  to.  But  I 
do  not  admire  palaces,  d  la  sandwich,  in  slices.' 

" '  All  very  well,'  we  replied ;  '  but  what  are  you,  or  we,  to  do  about  it  ? 
Do  you  know  the  price  of  land  per  inch  where  those  two  little  boys  with 
a  skate  apiece  are  trying  to  rival  the  performers  of  the  Park  lake  ?  Land 
in  Natal  is  to  be  had  for  the  asking ;  here  you  must  carpet  it  with  green- 
backs before  you  can  lay  a  brick.  Men  build  houses  to  live  in,  not  to 
look  at,  especially  as  they  go  from  them  in  a  hurry  in  the  morning  and 
return  after  dark.' 

" '  That  will  do  for  our  down-town  streets,'  replied  he, '  but  not  for  our 
Park.  The  people  who  come  here  want  something  fit  to  look  at.  Your 
commissioners  understand  their  business.  They  have  done  the  best  piece 
of  work  ever  done  in  America.  They  have  discharged  a  gigantic  trust 
without  a  shadow  of  jobbing,  with  admirable  good  taste,  with  a  large  and 
liberal  judgment.  It  is  due  them  that  their  work  be  not  deformed.  I 
will  tell  you  what  you  can  do.  There  is  a  little  book  I  took  up  the  other 
day  in  your  office — Ilathorn's — no,  Holly's  "Architecture" — and  I  com- 
mend Plate  30  and  what  follows  to  your  study.  He  talks  of  a  public 
censor,  and  gives,  I  can't  help  thinking — though  in  Natal  we  fight  shy 
of  such  officers — very  sensible  limits  to  the  power  and  province  of  such  a 
functionary.  Now,  give  that  office  to  your  Central  Park  commissioners, 
and,  for  powder  to  your  shot,  enact  that  there  shall  be  a  certain  reduction 
of  taxes  on  all  property  erected  according  to  their  directions.  That  is  it. 
One-half  per  cent,  off  if  Smith  and  Brown  will  employ  the  same  architect 
(and  the  committee  choose  him),  and  will  let  him  design  the  exterior  of 
the  house.  It  will  cost  them  no  more — rather  be  a  saving.  You  say 
they  want  their  houses  to  live  in,  not  to  look  at.  Pray  what  difference. 


144  MODERN  DWELLINGS. 

then,  does  it  make  whether  the  fronts  are  brown  stone  or  white  marble  ? 
whether  the  sham  cornice  on  top  is  two  inches  higher  or  lower?  It  is 
only  to  have  his  own  way  and  say  that  the  unlucky  owner  cares  about. 
You  architects  dare  not  tell  the  truth,  and  say,  "  My  dear  sir,  don't  put  a 
Louis  Quatorze  front  beside  your  neighbor's  Venetian  one ;  you  will  make 
a  fool  of  yourself  if  you  do."  No,  you  simper  and  approve,  and  go  and 
do  the  work  in  bitterness  of  soul,  and  take  your  change  out  of  him  by  ac- 
cepting bonuses  from  all  the  mechanics  whom  you  employ.  You  hate 
the  business,  but  you  dare  not  lose  the  patron.  Why,  the  very  tailor  your 
customer  employs  has  more  self-respect,  and  will  not  let  him  put  on  ill- 
assorted  colors.  Since  it  is  all  a  matter  of  pocket,  let  us  go  to  the  pocket. 
It  is  worth  the  city's  while  to  take  care  of  its  splendid  playground.  It 
can  appropriate  liberally  to  build  a  public  edifice,  and  nobody  grumbles. 
Why  not  push  the  principle  into  a  reduction  of  taxes  to  the  same  object  ? 
It  is  only  shifting  the  thing  end  for  end.  You  doubt  if  they  have  the 
power  ?  Of  course  they  have.  It  is  only  applying  the  right  of  eminent 
domain  in  a  novel  form.  That  right  includes  everything  which  the  pub- 
lic needs.  When  a  street  is  imperatively  needed,  it  walks  through  a  man's 
front  entry.  Why  may  it  not  pay  him  for  good  behavior  when  it  is  im- 
portant that  he  should  behave  well,  and  he  won't  without  being  paid  ? 
Nonsense  about  power !  Before  your  war,  such  talk  would  do  for  dema- 
gogue pettifoggers ;  but  now  you  have  learned  what  government  means— 
that  it  means  governing.  Your  Central  Park  means  that  you  have  de- 
cided to  live  in  New  York,  not  merely  to  sell  goods  there.  It  is  a  turn- 
ing-point. Your  city  has  had  a  narrow,  a  very  narrow,  escape  from  be- 
ing a  mere  commercial  railway  terminus — a  sort  of  Aspinwall  on  an 
isthmus  between  two  vast  seas  of  traffic.  This  Park  means  that  you  can, 
arid  will,  live  in  New  York,  and  love  it  as  your  city,  take  a  pride  in  it, 
and  make  a'  home  of  it.  Don't  let  it  be  spoiled.  And — I  sail  for  the 
Cape  next  week — drop  me  a  line  by-and-by  to  tell  me  how  you  succeed.' " 


CITY   ARCHITECTURE. 


145 


DESIGN    No.  23. 
First-floor  Plan. 

1.  Main  entrance;  2.  Vestibule;  3.  Main  liall ;  4.  Staircase;  5.  Parlor;  6.  Reception- 
room;  7.  Dining-room;  8.  Butler's  pantry,  with  store-room  above;  9.  Dumb-waiter; 
10.  Broom-closet ;  11.  Elevator;  12.  Private  staircase;  13.  Skyligbt  and  ventilating 
sbaft;  14.  Lavatory. 

Second-floor  Plan. 

15.  Boudoir;  16.  Bedroom;  17.  Passage;  18.  Dressing-room;  19.  Dressing-room; 
20.  Library;  21.  Billiard  -  room ;  22.  Lavatory;  23.  Linen -closet;  24.  Back  stairs; 
25.  Elevator;  26.  Broom-closet. 

In  city  houses,  where  we  are  confined  within  lots  averaging  25  x  100, 
and  have  to  make  the  best  of  it,  the  requirements  are  necessarily  very  dif- 
ferent from  those  of  a  cottage  or  country  mansion,  where  the  broad  acres 
comprising  the  estate  admit  of  a  structure  having  the  dimensions  of  a 


Purlor,  in  Design  No.  23. 


five-story  house,  built  all  on  one  floor.  We  have  previously  attempted  to 
illustrate  the  Queen  Anne  style  as  applied  to  country  work,  and  now  offer 
a  design  showing  its  adaptability  to  city  architecture.  In  this  instance, 

10 


146 


MODERN  DWELLINGS. 


Philadelphia  brick  and  Ohio  stone  trimmings  form  the  constructive  color 
of  the  walls.  This  building  is  five  stories  above  the  basement,  and  might 
be  allowed  still  another  story  without  marring  its  proportions,  which 

shows  how  admirably  adapted  this 
treatment  is  to  buildings  requiring 
great  height — a  virtue  that  the  Goth- 
ic style  does  not  possess.  As  a  twen- 
ty-five-foot lot  is  insufficient  for  a 
building  of  this  class,  it  is  proposed 
that  the  owner  should,  if  possible, 
purchase  five  feet  of  the  adjoining 
lot,  making  his  thirty  feet  in  width, 
by  this  means  rendering  the  avenue 
or  bay-window  front  the  more  im- 
posing. 

Ascending  the  entrance  porch, 
which  is  some  sixteen  feet  wide,  we 
enter  a  hall-way  of  the  same  width, 
terminating  with  the  grand  staircase. 
On  the  left  of  this  hall  is  the  draw- 
ing-room, running  the  entire  width 
of  the  house.  This  apartment,  the 
interior  of  which  we  have  illustrated, 
is  twenty  feet  wide,  independently 
of  the  two  bay-windows,  and  has  its 
wood-work  of  ebonized  maple,  with 
its  lines  picked  out  in  a  color  resem- 
bling ivory.  The  chimney-piece  is 
panelled  the  height  of  the  frieze, 
and  embellished  with  a  bracket  can- 
opy, above  which  is  a  shelf  for  old  china.  The  cove  underneath  is  cov- 
ered with  stamped  leather,  while  a  low,  bevelled  mirror  occupies  the  space 
between  it  and  the  mantel.  Between  the  bay-windows  is  shown  a  cabinet 
for  bric-a-brac,  of  the  same  style  as  the  mantel. 

In  these  interior  views  I  have  left  out  most  of  the  furniture,  in  order 
that  the  architectural  proportions  shall  be  more  clearly  displayed. 

Opposite  the  parlor  is  the  reception-roorn,  18x20,  including  the  bay- 
window.  This  connects  with  the  dining-room,  16x20,  including  the 
niche  for  the  sideboard.  It  is  proposed  not  to  separate  these  rooms  by 
si  id  ing-doors.  In  their  place,  there  is  a  narrow  screen  standing  out  from 


First-floor  Plan  of  Design  No.  23. 


CITY  ARCHITECTURE. 


147 


the  walls,  which  may  serve  as  a  frame  for  curtains.  These  screens  always 
seem  to  add  an  air  of  cosiness  to  an  apartment.  Sliding-doors,  on  the  con- 
trary, look  stiff;  they  give  the  room  a  barren  appearance,  and,  like  an  awk- 
ward person's  hand,  are  always  in  the  way.  I  should  prefer  abolishing  all 
doors  where  security  does  not  demand  them,  and  substituting  curtains.  In 
like  manner,  rooms  divided  by  screens  about  two-thirds  the  height  of  the 
ceiling  have  a  great  advantage  over 
those  separated  by  partitions,  inas- 
much as  each  room  seems  larger,  and 
has  a  freer  circulation  of  air.  The 
screens  may  be  made  to  appear  like 
pieces  of  furniture,  and,  if  desirable, 
they  may  be  portable,  so  that  on  occa- 
sion they  can  be  removed  altogether. 
Then  if,  as  in  the  present  instance,  the 
dining-room  be  small,  it  can  readily  be 
thrown  into  connection  with  the  re- 
ception-room, and  the  table  extended 
so  as  to  occupy  both  apartments. 

Stained  glass  forms  a  prominent 
part  in  the  decoration  of  this  room ; 
for  as  there  is  no  particular  view  from 
the  dining-room  windows,  the  middle 
section  alone  is  left  clear.  By  also  in- 
troducing stained  glass  into  the  panels 
of  the  screen,  a  light  and  brilliant  ef- 
fect is  obtained. 

As  we  ascend  the  grand  staircase, 
we  find  that  the  second  story  is  de- 
voted exclusively  to  the  lady  and  gen- 
tleman of  the  'house.  The  boudoir  is 
situated  on  the  avenue  front.  This, 
being  a  lady's  apartment,  is  fitted  up 
in  light  woods,  and  the  colors  selected 
for  the  decorations  are  cheerful  and 
transparent.  One  of  the  peculiarities 
of  the  room  is  the  cove  extending  on 


each  side  of  the  ceiling,  but  not  across 


Second-floor  Plan  of  Design  No.  23. 


the  ends.    This  has  something  the  effect  of  a  canopy  over  the  walls,  appar- 
ently lowering  their  height,  and  giving  an  air  of  snugness  to  the  apartment. 


148  MODERN  DWELLINGS. 

In  a  house  of  this  character,  a  private  parlor  for  the  mistress  is  essen- 
tial.    Here  she  may  receive  her  more  intimate  friends  and  transact  all 


Boudoir,  in  Design  No.  23. 

household  business.  The  boudoir,  or  "  lady's  bower,"  of  the  olden  time 
was  the  personal  retreat  of  the  mistress,  where  she  escaped  all  noise  and 
intrusion.  At  the  same  time,  it  was  easily  accessible  from  the  living-rooms 
and  domestic  offices.  In  the  city  it  is,  of  course,  difficult  to  arrange  such 
an  apartment  as  this  on  the  parlor  floor;  we  have  therefore  placed  it  in 
that  portion  of  the  second  story  specially  devoted  to  the  mistress  of  the 
house.  In  country  mansions,  however,  where  there  is  sufficient  room  on 
the  ground-floor  to  accommodate  the  domestic  offices,  the  boudoir  should 
IK;  placed  so  as  to  be  accessible  to  these,  and  also  in  a  position  to  act  as  a 
morning  reception-room.  If  possible,  it  should  be  on  the  south  or  east 
nide  of  the  house,  where,  if  a  conservatory  can  be  arranged  without  inter- 
fering with  the  view,  it  will  add  a  great  attraction  to  the  apartment. 

In  the  dwelling  under  consideration  there  is  a  private  passage  connect- 
ing the  boudoir  with  the  bedrooms  and  dressing  rooms  arranged  for  the 
gentleman  and  lady  respectively.  Both  are  well  lighted,  and  are  accom- 
modated with  closets,  bath,  and  toilet  rooms.  In  order  to  carry  out  the 


CITY  ARCHITECTURE. 


149 


healthy,  and  certainly  comfortable,  idea  of  sleeping  in  a  cool  room  and 
dressing  in  a  warm  one,  I  have  shown  a  small  fireplace  in  each. 

Beyond,  and  connecting  with  the  gentleman's  dressing-room,  is  the 
library.  This  is  a  cosy  little  apartment,  containing  a  bay-window.  An 
alcove  for  books  is  separated  from  the  main  room  by  a  transom,  beneath 
which  curtains  may  be  hung,  shutting  off  the  alcove  entirely  whenever 
complete  seclusion  is  required.  This  room  has  an  open  timber  ceiling,  and 
parquetry  floor  covered  here  and  there  with  rugs.  The  wall  is  panelled 
to  the  height  of  the  door  with  old  English  wainscoting,  arid  the  mantel 
and  fireplace  are  of  Sienna  marble,  with  opening  and  hearth  of  illumi- 
nated tile.  The  library  is  connected  both  with  the  toilet — adjacent  to  the 
dressing-room  —  and  the  billiard-room  in  the  rear.  On  the  floor  above 
there  are  two  bedrooms,  each  containing  a  bay-window.  They  have  large 
closets,  and  are  convenient  to  the  bath-room.  The  remainder  of  this 


Library,  in  Design  No.  23. 


story  is  devoted  to  the  children.  The  nurseries  for  day  and  night  are 
separated  by  dressing-rooms,  and  the  nurse's  room  communicates  with  the 
children's  sleeping-apartment. 

The  story  above  has  a  bath-room  and  seven  chambers,  all  well  lighted. 


150  MODERN  DWELLINGS. 

The  servants'  apartments  are  in  the  attic,  which  is  accessible  by  a  private 
staircase,  the  main  stairs  not  extending  to  this  floor.  Here,  again,  we 
have  the  advantage  of  utterly  excluding  the  servants  from  the  main  por- 
tion of  the  house  by  simply  locking  one  door  on  each  floor.  Owing  to 
the  extreme  height  of  the  ceiling  of  the  first  story,  it  may  not  be  neces- 
sary to  carry  the  butler's  pantry  all  the  way  up.  Over  it  an  entresol  may 
be  constructed,  serving  the  purpose  of  a  general  store-room,  which  may 
be  approached  by  a  landing  from  the  private  staircase.  The  house-keeper, 
whose  duties  are  chiefly  confined  to  the  lower  part  of  the  establishment, 
has  her  apartments  on  the  basement  floor.  Her  accommodations  are  suit- 
able to  a  person  who  must  be  possessed  of  refinement  and  intelligence,  in 
order  properly  to  fill  her  position  of  responsibility  and  trust.  Her  little 
parlor,  which  is  on  the  avenue  front,  has  both  fireplace  and  bay-window, 
and  communicates  directly  with  a  small  bedroom,  closed  off  during  the 
day  with  folding  -  doors.  This*  opens  into  a  spacious  pantry,  which  is 
supplied  with  closets  for  hanging  on  one  side,  and  a  dresser,  with  draw- 
ers, on  the  other.  Beyond  this  is  a  bath-room. 

At  the  right  of  the  house-keeper's  apartments  is  the  laundry,  with  sta- 
tionary tubs  and  steam  drying-room.  The  servants'  hall  is  roomy ;  the 
kitchen  contains  a  large  pantry  and  well-lighted  scullery.  In  this  design, 
also,  there  is  a  lift  which  runs  from  cellar  to  attic. 

The  main  hall  is  lighted  from  the  roof,  and  a  broad  well  on  each 
story  serves  to  convey  the  light  to  the  first  floor.  In  addition  to  this,  it 
will  be  observed  that  there  is  a  shaft  with  a  skylight  between  the  main 
and  private  staircase,  open  from  roof  to  cellar.  Besides  giving  light,  it 
serves  the  purpose  of  ventilator.  (See  Chapter  XIV.,  on  Ventilation.) 


PART  II. 

FURNITURE  AND   DECORATION. 


CHAPTER  I. 

INDUSTRIAL   ART   EDUCATION. 
The  Necessity  of  it  in  the  United  States. — Impulse  given  to  it  by  the  Centennial. 

PERHAPS  no  industry  has  suffered  more  from  the  want  of  technical 
education  in  our  country  than  the  building  arts ;  and  although  archi- 
tecture has  made  great  progress  in  the  last  ten  years,  the  artist  has  been 


Fig.  1.— Frieze :  The  Lady  of  Shalott. 

so  lamely  seconded  by  the  workman  as  to  sadly  mar  the  effect  of  his  de- 
signs. Until  recently,  it  has  been  almost  impossible  to  find  skilled  arti- 
sans; but  the  necessity  has  become  so  great,  that  we  have  finally  been 
compelled  to  import  them  from  abroad.  The  influence  of  their  introduc- 
tion has  already  been  greatly  felt,  and  some  excellent  work  is  now  begin- 
ning to  appear.  It  is  natural  to  suppose,  however,  that  but  few  of  the 
best  workmen  would  come  to  a  new  country  when  their  talents  are  so 
much  better  appreciated  at  home.  As  a  general  thing,  only  the  inferior 
mechanics  are  willing  to  emigrate ;  nor  do  these  meet  with  much  encour- 
agement, as  our  people  have  been  so  educated  in  an  atmosphere  of  bad 
art  that  they  esteem  good  work  but  lightly.  Unhappily,  this  state  of 
things  is  likely  to  continue  until  some  means  is  devised  for  improving 
public  taste. 


152 


MODERN  DWELLINGS. 


I  remember  going  to  a  paper-hanging  establishment,  a  short  time  since, 
the  proprietor  of  which,  while  showing  me  designs  from  the  famous  Mor- 
ris Company  of  London, mentioned  that  the  taste 
of  the  public  was  at  so  low  an  ebb  that  it  offered 
but  little  inducement  for  their  importation.  He 
remarked  that  the  Americans  were  improving  in 
this  direction,  however ;  for  only  a  few  years  ago 
the  worst  designs  of  the  European  market  passed 
current.  As  an  example  of  this,  he  stated  that 
at  one  time  the  figures  generally  selected  were 
so  large  that  it  was  not  an  unusual  thing  to  do 
away  with  an  important  door,  in  order  to  avoid 
interfering  with  the  pattern.  It  has  become 
proverbial  among  European  manufacturers  that 
whatever  is  so  wanting  in  good  taste  as  to  ruin 
it  for  the  home  market  will  do  for  the  United 
States.  In  fact,  Europeans  have  found  to  their 
sorrow  the  folly  of  sending  their  choice  produc- 
tions to  what  they,  perhaps  with  some  justice, 
consider  a  land  of  barbaric  tastes. 

Although  it  may  seem  heresy,  in  one  born 
and  bred  in  New  York,  to  draw  comparisons  dis- 
paraging to  his  native  city,  I  must  say  that  in 
New  England,  and  especially  in  Boston,  art  edu- 
cation has  made  much  greater  progress  than  with 
us.  One  indication  of  its  advance  is  the  erec- 
tion, by  a  number  of  public-spirited  citizens,  of  a 
spacious  Museum  of  Architecture,  not  far  from 
its  kindred  academy,  the  Institute  of  Technology. 
To  this  institution  the  public  may  have  free  ac- 
cess, and  receive  instruction  in  every  branch  of 
illustrative  and  practical  art.  It  not  only  con- 
tains valuable  collections  of  antique  works,  but 
the  well-lighted  galleries  are  hung  with  many  elegant  paintings,  and  the 
library  \n  supplied  with  choice  art  publications.  There  are  also  apart- 
ments for  drawing  and  modelling,  and  a  large  lecture -room.  It  is  in- 
tended to  make  this  institution  serve  in  Boston  the  purpose  fulfilled  by 
the  South  Kensington  Museum  in  Enghnd  ;  and  it  is  a  crying  shame 
that,  with  all  this  going  on  so  near  us,  our  own  State  should  be  so  back- 
ward in  recognizing  the  necessity  of  art  education. 


Fig.  2.—  Wul  l-pn  per. 


INDUSTRIAL  ART  EDUCATION. 


153 


The  effect  produced  by  an  institution  of  this  kind  is  not  merely  of  an 
aesthetic  character.  Its  influence  lias  actually  a  commercial  value,  as  the 
experience  of  France  will  show.  There  the  science  of  art  has  been  in- 
troduced into  all  manufactures,  and  the  consequence  is  that,  notwithstand- 
ing the  recent  ravages  she  has  sustained,  France  is  to-day  in  a  better 
commercial  position  than  any  other  nation.  There  is  an  artistic  beauty 
about  the  articles  manufactured  upon  her  soil 
that  draws  thither  purchasers  from  all  parts  of 
the  world. 

England,  prior  to  the  International  Exhibi- 
tion of  1851,  was  almost  in  a  state  of  barbarism 
as  to  the  industrial  arts.  Seeing  then  and  there 
how  inferior  her  works  appeared  in  comparison 
with  those  of  other  nations,  she  began  seriously 
to  reflect  upon  the  cause,  and  concluded  that  it 
must  be  the  fault  of  the  English  system  of  edu- 
cation. From  this  conviction  resulted  the  deter- 
mination to  afford  all  classes  an  opportunity  for 
improvement  in  the  arts  of  design,  by  the  estab- 
lishment of  technical  schools.  The  consequences 
are  that  England  at  the  present  time  possesses  a 
class  of  artisans  as  ably  qualified  as  those  of  any 
nation  of  Europe.  Now,  unpopular  as  the  reflec- 
tion may  be,  can  we  be  considered  in  any  way  in 
advance  of  what  England  was  in  1851  ?  If  not, 
it  is  certainly  time  that  wre,  recognizing  our  de- 
ficiencies, should  awake  from  our  lethargy,  and 
take  up  this  subject  in  a  serious  manner.  Such 
a  school  as  the  South  Kensington  Museum  is 
sorely  needed  in  this  country. 

The  benefits  accruing  from  such  an  institu- 
tion are  incalculable.  They  would  extend  to 
every  class — from  the  wealthy,  who  might  visit 
there  for  pleasure,  to  the  adult  mechanic,  who 
would  have  the  advantage  of  evening-school,  with 
the  best  of  instruction.  Here  the  painter  would 
be  instructed  in  the  harmonious  blending  of  col- 
ors and  the  principles  of  design,  practised  in  various  countries  in  all  ages 
— a  form  of  education  equally  useful  to  the  designer  of  carpets,  draperies, 
and  furniture  stuffs.  Here  the  carver,  who  might,  perhaps,  be  able  to 


Fig.  3.— Wall-paper. 


154:  MODERN  DWELLINGS. 

chisel  out  an  ordinary  Corinthian  capital,  with  its  eternal  acanthus,  but 
who  would  utterly  fail  to  conceive  or  execute  the  spirited  and  ever-vary- 
ing forms  of  Gothic  scroll  or  leaf-work,  would  have  eye  and  hand  taught 
to  appreciate  and  work  out  these  graceful  lines  with  feeling  and  power. 
The  plasterer  might  here  acquire  the  subtle  touch  of  the  artistic  moulder ; 
the  fresco-painter  would  here  get  the  "grammar  of  ornament"  at  his  fin- 
gers' ends.  The  very  stone  -cutters  might  possibly  be  developed  into 
young  Ruskins,  and  the  millennium  of  art  might  be  speedily  expected. 
The  cabinet-maker,  the  glass-stain er,  the  potter,  all  would  be  nurtured  in 
the  love  for  the  beautiful  by  our  lyceum.  Simply  to  enumerate  the  vari- 
ous trades  that  would  reap  its  benefits  would  occupy  more  space  than  we 
can  spare.  It  should  also  be  remembered  that  the  advantages  of  such 
schools  are,  in  the  end,  returned  to  the  patrons  themselves,  by  the  impetus 
given  to  the  arts  of  every  kind. 

The  Centennial  Exhibition  did  more  to  stimulate  art  industry  in  this 
country  than  anything  else  has  ever  done.  The  specimens  from  abroad  of 
furniture,  carpets,  hangings,  and  embroideries  formed  an  opportunity  for 
the  art  student  such  as  may  not  occur  again  in  many  years.  Most  of  our 
cities  (except  New  York,  which,  in  its  greed  for  wealth,  appears  to  have 
no  time  to  give  to  the  development  of  art)  took  advantage  of  the  chance 
offered,  and  stocked  their  museums  with  works  of  this  kind.  Philadelphia 
especially  seemed  to  appreciate  her  great  opportunity,  and  the  Pennsylva- 
nia Museum  has  collected  within  its  art  department  some  of  the  choicest 
articles  brought  from  China,  Japan,  Turkey,  Egypt,  France,  England,  and 
Italy,  among  which  are  included  bronzes,  furniture,  pottery,  glass,  and 
metal-work.  The  effect  of  this  collection  upon  the  future  manufactures 
of  this  State  will,  no  doubt,  be  most  salutary ;  and  we  cannot  but  regret 
that,  while  other  States  are  attempting  to  instruct  their  workers  in  design, 
that  New  York,  with  its  characteristic  apathy — as  shown,  for  instance,  in 
the  matter  of  rapid  transit — has  been  totally  unappreciative  of  this  golden 
opportunity. 

The  Gothic  revival  was  the  initial  movement  toward  reform  in  domes- 
tic furniture.  This  style,  although  crude  at  first,  has  developed  at  the 
present  day  into  one  excelling  all  others  for  grace  and  beauty.  I  think 
fioine  of  the  earliest  efforts  in  this  line  were  by  Welby  Pugin.  One  char- 
acteristic, however,  of  the  furniture  designed  by  him  for  Windsor  Castle 
was  that  the  finials,  buttresses,  and  crockets  were  conspicuous  in  their  de- 
tail. In  these,  Pugin  himself  afterward  admitted  he  had  violated  nearly 
all  the  principles  of  Gothic  construction.  In  his  later  efforts  he  produced 
Home  very  legitimate  work,  which  gave,  perhaps,  the  first  impetus  to  the 


INDUSTRIAL  ART  EDUCATION.  155 

reform  which  was  taken  up  and  improved  upon  by  such  men  as  Dr.  Dres- 
ser, Eastlake,  and  J.  W.  Talbert. 

Men  of  such  genius  could  not,  however,  stand  still  nor  remain  in  a 
groove.  Mr.  Talbert  was  one  of  the  first  to  accept  the  lighter  and  more 
graceful  treatment  of  the  Queen  Anne  period.  Of  this  his  second  book 
on  domestic  work  affords  some  choice  illustrations. 

Any  one  who  visited  the  Centennial  Exhibition  with  the  view  of  in- 
specting the  various  specimens  of  industrial  art,  must  have  been  struck 
with  the  uniform  excellence  of  the  English  furniture  displayed.  There 
were  some  half  a  dozen  exhibits  of  British  manufacture  showing  wood- 
work of  exceedingly  novel  design,  yet  rendered  in  such  a  manner  as  to 
show  great  adaptability  to  various  uses.  Although  setting  at  defiance 
many  points  claimed  as  essential  by  Mr.  Eastlake,  all  the  constructive 
principles  were  retained,  while  in  many  cases  Jacobean  details  added  a 
vast  improvement  to  his  method. 

These  specimens  vied  with  each  other  both  in  design  and  workman- 
ship ;  and  all,  with  scarcely  an  exception,  were  good.  In  fact,  England 
and  America  were  the  only  countries  which  seemed  to  make  much  display 
in  the  line  of  this  particular  industry.  But  although  the  American  exhibits 
were  many,  yet  most  of  them — and  not  all  our  best  houses  were  represent- 
ed— compared  favorably  with  the  British.  Those  from  Boston,  Chicago, 
Xew  York,  and  Philadelphia  showed  great  progress  in  art  manufacture. 

Among  the  foremost  houses  in  New  York  is  that  of  Marcotte  &  Her- 
ter  Brothers,  whose  designs  are  of  the  most  chaste  and  elegant  character. 
Messrs.  Pottier  &  Sty m us  are  also  doing  some  beautiful  work.  Several 
English  houses  have  recently  established  branches  in  our  city,  among 
which  may  be  mentioned  Cottier  &  Co.,  and  Cox  &  Sons.  These  houses 
also  furnish  stained  glass  and  pottery ;  and  the  former  has  done  some  of 
the  finest  Queen  Anne  decoration  in  this  country,  as  evinced  by  numer- 
ous private  residences,  which  have  been  entirely  fitted  up  by  this  firm. 

At  the  Centennial  the  exhibit  of  Robert  Ellen  &  Co.  showed  some  ex- 
quisite work ;  and,  although  the  specialty  of  this  house  is  carving — the  ex- 
cellence of  which  is  attested  by  the  new  reredos  and  chancel  wood-work 
of  Trinity  Church,  New  York — still  their  furniture  is  of  the  most  honest 
and  artistic  character. 

A  set  of  furniture  by  C.  R.  Yandell,  exhibited  at  the  Centennial,  was 
conspicuous  for  its  coverings  of  stamped  leather.  This  gentleman  is  now 
manufacturing  some  of  the  most  beautiful  specimens  of  this  material  in 
various  colors.  The  stamping  of  plush  also,  for  the  same  purpose,  is  ex- 
tensively carried  on  by  this  house. 


156 


MODERN  DWELLINGS. 


The   author  is   indebted  to  the  American  Architect  and  Building 

News  for  some  of  the  Centennial  descriptions.     The  following  extract 

from  one  of  its  articles  on  the  furniture  exhibits  may  prove  interesting : 

"The  wonderful  strides  recently  made  in  the  revival  of  the  earlier 

eighteenth-century  work  are  seen  everywhere.    Under  the  names  of  Queen 

Anne  and  Free  Jacobean, 
this  seems  too  likely  to 
become  only  a  fashion, 
from  which  any  change 
may  lead  to  an  abandon- 
ment of  the  really  valu- 
able constructive  princi- 
ples which  underlie  the 
style,  and  bring  it  into 
close  alliance  with  the 
Gothic,  or  thirteenth-cen- 
tury, revival.  Whatever 
may  be  said  against  the 
adoption  of  Elizabethan 
or  Jacobean  forms  in  ex- 
ternal architecture,  the 
objection  will  not  hold 
with  regard  to  the  treat- 
ment of  interior  Avood- 
work,  and  the  construc- 
tion of  the  furniture  of 
those  periods.  Herein 
the  two  styles  stand  on 
common  ground,  the  later 
style  having  the  advan- 
tage of  lightness  of  con- 
struction, while  the  other 
is  pre-eminently  great  in 
the  treatment  of  details 
—  carving  and  decora- 
tion. The  English  fur- 
niture partakes  largely  of  both  elements.  The  works  of  Schoolbred  & 
Co.,  Collinson  <fe  Lock,  Cooper  &  Holt,  William  Scott  Morton  &  Co.,  and 
Howard  &  Sons,  may  be  classed  together  in  this  style,  which  is  practised 
by  all  alike  with  remarkable  harmony.  Straight  wood  predominates  in 


Flj*.  4.— Wnll-pnper. 


INDUSTRIAL  ART  EDUCATION.  157 

all.  Mouldings  are  worked  on  the  solid.  Mitred  mouldings  are  used 
sparingly,  and  might  better  have  been  dispensed  with  altogether.  They 
are  generally  around  the  tops  of  the  larger  pieces,  and  are  not  the  huge 
cornices  to  be  seen  on  so  many  American  pieces,  but  fine  mouldings  of 
many  members,  having  but  slight  projection,  and  therefore  offering  but 
little  opportunity  for  opening  at  the  mitres  by  shrinkage  or  swelling. 
Panel-decoration  is  sometimes  carved,  either  in  imitation  of  old  work,  or 
with  original  designs,  and  always  in  relief;  sometimes  treated  with  cast- 
bronze  or  repousse  work ;  sometimes  with  majolica,  both  in  relief  and 
painted  ;  sometimes  with  paintings  on  vellum  or  wood ;  and  sometimes 
on  porcelain.  Some  of  the  most  elegant  panel-work  is  in  inlaid  woods." 

Messrs.  Pettier  &  Styrnus  have  recently  executed  some  very  beauti- 
ful ebonized  furniture  for  the  residence  of  Judge  Hilton,  of  New  York. 
In  it  there  is  a  striking  contrast  of  white  lines  and  decoration,  which 
has  much  the  effect  of  ivory  inlay.  Some  of  their  ormolu  furniture  also 
is  much  admired. 


158  MODERN  DWELLINGS. 


CHAPTER  II. 

COLOR. 

Interior  Decorations  directed  by  Architect. — Theory,  Effects,  and  Gradations  of  Color. — • 

Symmetry. 

IT  has  been  said  that  he  who  designs  the  outside  of  a  house  should  also 
design  the  interior.  I  would  go  a  step  farther,  and  claim  that,  in  order 
to  secure  harmony,  the  same  mind  that  conceives  the  original  structure 
should  guide  the  arrangement  of  all  its  details,  including  color,  decoration, 
furniture,  and  carpets.  This,  however,  seldom  occurs.  It  is  true  that,  in 
building  our  dwellings,  the  assistance  of  an  architect  is  called  in ;  but 
when  the  work  of  the  carpenter  and  plasterer  is  finished,  his  services  are. 
generally  no  longer  required.  An  artist  in  the  shape  of  an  upholsterer  of 
totally  different  feeling  is  usually  employed  to  complete  the  work,  which 
he  may  do  in  utter  contrast  with  the  original  spirit  of  the  design.  Cer- 
tain details,  intended,  perhaps,  to  be  emphasized  by  distinction  of  color, 
become  subdued  by  being  treated  in  a  subordinate  manner ;  and  if  one 
style  of  architecture  is  employed  in  the  construction,  an  entirely  different 
idea  may  be  carried  out  in  the  decoration. 

Color  decoration,  in  particular,  offers  a  broad  field  for  the  crude  at- 
tempts of  the  modern  tyro ;  and  the  unmeaning  forms  and  less  harmoni- 
ous tints  he  employs,  instead  of  gratifying,  are  likely  to  become  an  outrage 
to  good  taste.  Now,  in  order  to  overcome  this  difficulty,  it  would  be  well 
to  establish  among  first  principles  the  theory  of  complementary  colors  ; 
and  although  we  do  not  propose  to  make  this  volume  in  the  least  tech- 
nical, perhaps  a  few  remarks  in  regard  to  their  harmony  will  not  come 
amiss. 

We  know  almost  instinctively  that  blue  will  not  harmonize  with  green, 
and  that  red  will ;  but  the  theory  upon  which  this  contrast  is  based  is  but 
vaguely  understood.  We  remember  studying  in  our  "Natural  Philoso- 
phy" that  white  is  the  reflection  of  all  colors;  that  is,  that  all  the  pri- 
mary colors  combined  produce  it.  It  is  the  general  impression  that  there 
are  weven  primary  colors,  viz.,  those  seen  in  the  rainbow;  whereas,  in  real- 
ity, there  are  but  three— blue,  red,  and  yellow. 


COLOR. 


159 


Green,  orange,  and  purple  are  secondary  colors,  produced  by  mixing 
the  primaries.  Thus,  blue  and  yellow  make  green ;  red  and  yellow  pro- 
duce orange ;  and  blue  and  red,  purple. 

The  mixture  of  these,  again,  creates  what  are  called  tertiary  colors,  such 
as  citrine,  olive,  and  russet.  Orange  and  green  form  citrine ;  purple  and 
orange,  russet ;  and  green  and  purple,  olive. 

A  knowledge  also  of  the  quantities  in  which  these  colors  may  be  made 
to  harmonize  is  requisite.  The  whole  art  lies  in  combining  them  in  the 
proportions  which  produce  white.  These,  in  the  primaries,  are  five  of  red, 
three  of  yellow,  and  eight  of  blue ;  in  the  secondaries,  thirteen  of  purple, 
eleven  of  green,  and  eight  of  orange ;  and  in  the  tertiaries,  twenty -four  of 
olive,  twenty-one  of  russet,  and  nineteen  of  citrine. 

A  primary  color — say  red — placed  contiguous  to  the  secondary  green, 
which  is  its  complementary  (being  composed  of  the  two  remaining  pri- 


Fig.  5.— IIiuHiug  Sceue. 

mary  colors,  blue  and  yellow),  and  arranged  in  the  above  proportion,  pro- 
duces the  harmony  required.  It  is  also  a  fact  that,  in  looking  at  any  color, 
its  complementary  is  reflected.  Thus,  green  reflects  red ;  and,  when  the 
two  colors  are  placed  in  juxtaposition,  both  become  more  intense,  whereby 
richness  of  effect  is  produced.  To  complete  the  formula,  blue  and  orange, 
also  yellow  and  purple,  are  harmonious ;  for  in  each  case,  when  mixed  in 
the  right  proportions,  all  the  colors  producing  white  are  present. 

By  certain  combinations,  color  may  have  an  enlivening  or  depressing 
effect.  For  example,  blue  is  a  cold,  quieting  color;  while  red  is  warm  and 
exciting.  Each  affects  the  mind  in  a  different  manner.  Again,  promi- 
nence or  subordination  may  be  given  by  their  employment.  For  instance, 
blue  produces  the  effect  of  distance,  and,  if  placed  upon  the  ceiling,  causes 
it  to  appear  higher,  or,  if  in  a  recess,  will  deepen  it.  Yellow,  on  the  con- 
trary, appears  to  advance  toward  the  eye ;  and,  if  used  upon  the  ceiling, 
will  seem  to  lower  it,  or,  if  upon  a  projecting  moulding,  will  exaggerate  its 


160  MODERN  DWELLINGS. 

prominence.  Red  is  the  only  color  that  remains  stationary.  C9lors  in- 
harmoniously  disposed  are  as  painful  to  the  practised  eye  as  are  discordant 
sounds  to  the  musical  ear. 

It  is  generally  admitted  that  furniture  and  costume  show  to  a  better 
advantage  when  the  walls  of  an  apartment  are  dark,  while  pictures  look 
well  upon  a  light  background.  In  order  to  accommodate  these  require- 
ments, the  dado,  or  lower  three  feet  of  the  walls,  may  be  dark  in  color ;  the 
surface,  where  the  pictures  are  to  be  hung,  of  a  neutral  tint ;  while  in  the 
cornice  and  ceiling  any  number  of  brilliant  hues  may  appear.  By  this 
means  a  harmonious  gradation  of  colors  is  achieved.  Indeed,  it  would  be 
well  if  this  arrangement  of  colors  were  to  be  made  the  rule  in  decorating 
apartments.  The  heaviest  and  richest  colors  should  be  upon  the  floor  or 
near  it,  and  the  lightest  and  most  brilliant  either  upon  or  in  the  neigh- 
borhood of  the  ceiling. 

A  dark  color,  also,  when  applied  to  a  skirting,  or  dado,  gives  the  effect 
of  strength,  which  is  always  desirable  to  suggest  in  parts  bearing  a  super- 
incumbent weight.  Brown,  rich  maroon,  dull  bronze-green,  or  even  black, 
may  be  used  here  to  advantage. 

Now,  I  think  I  hear  some  ladies  object  to  this  system,  not  only  on  the 
ground  that,  if  the  clear  surface  of  the  wall  is  too  much  broken  up,  the 
ceilings  appear  low,  but  that  so  many  varieties  of  color  destroy  the  dignity 
and  injure  the  repose  of  an  apartment.  In  answer  to  this,  let  me  ask  if 
the  ladies,  while  exercising  their  usual  good  taste,  do  not  exemplify  pre- 
cisely this  same  rule  in  their  dress?  Their  shoes  are  dark,  and  their 
dresses  neutral,  while  the  gay  and  brilliant  colors  are  reserved  for  their 
heads  and  shoulders. 

This  gradation  of  color  from  deep  to  gay  is  borrowed  from  the  Great 
Architect ;  for,  in  nature,  how  often  do  we  see  the  same  system  carried 
out ;  as,  for  instance,  in  a  mountain  capped  by  brilliant  clouds  at  sunset ! 
Or,  take  the  tree,  for  example :  the  roots  and  trunk  are  dark  and  substan- 
tial, giving  evidence  of  strength  and  durability;  the  branches  are  covered 
with  leafy  verdure,  not  pronounced  in  color ;  the  blossoms,  with  their 
ever-varying  and  brilliant  hues,  are  confined  to  the  summit ;  while  the  sky 
(corresponding  to  the  ceiling  of  a  room)  is  blue— the  color  of  all  others 
which  gives  an  appearance  of  distance.  When  applied  to  our  rooms,  blue 
has  always  the  effect  of  enlarging  them,  and — to  go  on  still  farther  in 
imitation  of  nature — if  the  ceiling  be  powdered  with  stars,  or  decorated 
with  the  figures  of  birds  in  the  act  of  flying,  we  have  a  legitimate  relief, 
and  one  that  is,  perhaps,  among  the  most  effective  of  all  treatments.  This 
system  of  wall  decoration  is  nothing  new ;  for,  not  only  do  we  find  in- 


COLOR. 


161 


stances  of  it  in  some  of  the  rooms  discovered  in  the  recent  excavations  of 
Pompeii,  but  we  know  that  it  was  practised  by  the  ancient  Greeks. 

The  association  of  color  with  strength  claims  a  larger  part  in  decora- 
tion than  is  generally  supposed.  Thus,  the  trimmings  of  the  exterior  of  a 
dwelling,  if  painted  a  color  darker  than  the  body,  seem  to  produce  a  con- 
structive effect,  and  convey  the  idea  of  ribs  and  stanchions  supporting  the 
house.  So,  too,  the  frame  of  a  panel,  if  painted  darker,  gives  the  idea  of 
strength,  while  the  panel  itself,  being  light,  appears  to  be  supported. 

A  skirting  or  margin  also,  having  in  any  way  the  effect  of  a  frame, 
should  be  emphasized  by  a  stronger  color.  This  includes  cornices  and 
trimmings  of  doors  and  windows.  These  trimmings,  or  architraves,  as 
they  are  called,  should  be  of  a  color  more  pronounced  than  the  wall,  but 
not  so  dark  as  the  surbase,  unless  black  be  introduced,  in  which  case  oiie 
or  two  narrow  lines  of 
bright  color  or  gold  may 
be  added.  When  black 
is  used,  it  would  be  well 
to  have  a  portion  of  it 
polished,  thus  producing  a 
contrast  between  a  bright 
and  dead  surface. 

The  doors  of  an  apart- 
ment should  be  darker 
than  the  walls  —  some- 


thing 


in 


Fig.  6. — Garden  Scene. 


tone  between 
them  and  the  trimmings. 
Thus,  if  a  wall  be  citrine,  the  door  may  be  low-toned  Antwerp  blue  or 
dark  bronze-green ;  but  in  either  case  a  line  of  red,  being  complementary 
to  both,  should  be  run  around  the  trimmings. 

The  usual  mode  of  treating  sashes  is  in  white,  or,  at  least,  some  light 
color ;  but  they  may  obtrude  themselves  less  against  a  fine  landscape  if 
painted  black.  Then,  by  having  the  architraves  the  same  color,  and  the 
jambs  bronze,  green,  or  olive,  a  very  cosy  effect  will  be  produced.  In  this 
case  we  should  advise  that  the  stop-beads  be  of  Indian  red — a  very  beauti- 
ful color,  formed  by  the  mixture  of  vermilion  and  ultramarine-blue.  Then, 
if  amber-colored  shades  be  used  instead  of  white,  no  curtains  will  appear 
necessary.  If  the  walls  be  of  cream-color,  with  maroon  and  black  sur- 
base, the  effect  will  have  a  completeness  eminently  satisfactory. 

As  regards  symmetry  in  construction,  Nature  was  always  the  model 
selected  by  the  Greeks.  According  to  Vetruvius,  the  Greek  column  was 

11 


162  MODERN  DWELLINGS. 

modelled  after  the  figure  of  a  woman,  its  diameter  being  one-eighth  of  its 
altitude — the  same  proportion  which  the  female  foot  bears  to  the  height 
of  the  body.  The  flutes  of  the  column  are  supposed  to  represent  her 
dress,  devoid,  of  course,  of  the  modern  innovation  known  as  crinoline,  but 
hanging  in  graceful  folds,  as  in  the  time  of  the  ancients.  The  flowing 
outline  of  its  capital  may  be  readily  imagined  to  represent  the  female 
head-dress. 

It  has  been  proven  by  actual  experiment  that  there  are  certain  forms 
which  appear  more  lofty  than  others  of  an  equal  height,  when  treated 
irrespective  of  these  laws  of  proportion.  How  many  of  us  have  tried  to 
guess  the  height  of  a  gentleman's  hat !  You  are  fully  under  the  impres- 
sion that  this  cylindrical  piece  of  felt  will  measure  nine  or  ten  inches, 
which  distance  being  marked  upon  the  wall,  and  the  hat  itself  adjusted 
to  it,  to  your  infinite  amazement,  you  discover  that  it  measures  no  more 
than  six  inches  from  rim  to  crown. 

The  perfectly  formed  human  figure  has  pre-eminently  this  advantage. 
If  the  statue  of  Apollo  and  a  plain  cylinder  were  to  be  seen  remote  from 
each  other,  there  would  be  found  a  marked  difference  in  their  apparent 
altitude,  so  that  one  would  scarcely  imagine  they  were  the  same  height 
until  convinced  by  seeing  them  placed  side  by  side. 

As  I  have  said  before,  the  principle  of  proportion,  shown  in  the  classic 
column,  is  that  adopted  by  the  ancient  nations  in  their  wall  decoration— 
the  frieze  bearing  to  the  wall  the  proportion  of  the  capital  to  the  column, 
the  dado  that  of  the  pedestal.  I  contend,  therefore,  that  the  system  of 
breaking  up  our  wall  surfaces,  if  carried  out  under  these  laws,  adds  to, 
rather  than  diminishes,  the  apparent  height.  This  is  no  doubt  the  reason 
why,  in  England,  the  height  of  the  ceilings  is  being  materially  lessened, 
the  architect  trusting  to  this  method  of  embellishment  to  counteract  the 
effect  produced.  Of  course,  in  every  case  it  is  necessary  to  observe  the 
correct  proportions,  otherwise  the  appearance  of  the  room  will  be  de- 
stroyed. Thus,  in  a  high  ceiling  the  width  of  dado  and  frieze  should 
be  increased.  In  great  halls  or  public  buildings,  where  the  ceilings  are 
unusually  high,  the  frieze  may  sometimes  be  deepened  to  an  equal  width 
with  the  wall  space,  the  advantage  of  this  being  that  a  greater  amount  of 
elaborate  decoration  may  be  displayed,  and  the  figures  drawn  upon  a 
larger  scale.  Men  and  horses  may  sometimes  appear  to  a  better  advan- 
tage when  drawn  the  size  of  life. 


PAPEK-HANGING.  I  *>'•'> 


CHAPTER    III. 

PAPER-HANGING. 
Selection  of  Patterns. — Adaptation  of  Colors. 

A  FREQUENT  method  of  decorating  our  rooms  is  by  the  employ- 
-£^-  ment  of  wall-papers.  These  possess  the  advantage  of  being  cheap, 
easily  hung,  and  highly  finishing  in  their  effect — certainly  great  recom- 
mendations, if  only  taste  be  exercised  in  their  selection.  As  I  have  said 
before,  the  architect  is  seldom  consulted  in  these  matters,  and  people  gen- 
erally use  their  own  judgment,  or  that  of  their  upholsterer,  whose  main 
object  is  to  hit  upon  something  "  pretty  and  stylish." 

One  may  choose  a  light-tinted  paper  for  a  dark  room,  or  a  small  pat- 
tern for  a  small  one ;  but,  further  than  this,  no  rules  are  likely  to  be  ob- 
served in  the  selection.  The  height,  size,  lighting,  furniture,  and  purposes 
of  the  apartment  are  usually  left  unconsidered. 

There  is  not  now  the  excuse  which  heretofore  existed  for  not  employ- 
ing wall-paper  of  a  becoming  pattern.  Formerly  that  offered  for  sale  was 
of  so  crude  a  character,  that  a  simple  whitewashed  wall  was  far  more  agree- 
able. But,  like  most  other  industries  that  have  come  under  the  influence 
of  the  general  advance  in  decorative  art,  the  manufacture  of  wall-paper  has 
greatly  improved.  The  English,  particularly,  have  paid  special  attention 
to  the  production  of  attractive  wall-papers.  The  ablest  artists  are  exercis- 
ing their  most  brilliant  efforts  in  developing  this  branch  of  industry.  We 
were  formerly  almost  entirely  dependent  upon  the  French  for  designs, 
many  of  which  were  considered  very  beautiful ;  but  compared  with  those 
now  produced  by  the  English,  they  are  as  the  American  architecture  of 
the  early  settlers  to  that  of  the  present  day.  The  breaking  up  of  wall  sur- 
face with  frieze  and  dado  is  one  of  the  peculiar  characteristics  of  the  Eng- 
lish designs,  and  in  this  way  some  of  the  best  combinations  of  color  and 
pattern  are  produced.  The  dados  are  sometimes  of  a  checkered  chocolate 
pattern,  relieved  with  gold  and  black ;  while  the  intermediate  space  above 
contains  a  neutral  design,  as  introducing  moss  or  delicate  ivy.  The  frieze 
is  of  an  utterly  different  treatment,  sometimes  Japanese  in  character,  posi- 


164 


MODERN  DWELLINGS. 


tive  in  color,  and  either  conventional  or  natural  in  design.    In  some,  storks, 
or  other  fowl,  in  various  attitudes,  seem  gliding  through  the   air.      In 

others,  vines  and  trellis-work,  laden 
with  vivid  green  and  golden  fruit, 
relieve  the  frieze,  as  if  the  inter- 
mediate space  represented  a  wall  or 
screen,  over  which  various  scenes 
of  the  vegetable  and  animal  king- 
dom are  made  to  show  in  bold  out- 
line. 

For  a  room  in  which  convivial 
conversation,  wines,  and  viands  are 
to  be  enjoyed,  the  color  should  nev- 
er be  light,  but  of  neutral  or  com- 
plementary tint.  In  reception-rooms 
or  parlors,  the  eye  should  be  grati- 
fied, the  senses  of  the  palate  not  be- 
ing brought  into  competition ;  and 
hence  floral  designs  and  gay  colors 
— something  of  an  enlivening  nat- 
ure— would  be  appropriate. 
The  late  Owen  Jones  remarked  that  the  flatness  of  a  wall  should  be 
left  undisturbed,  and  the  decoration  as  little  obtrusive  as  possible.  But 
in  how  few  instances  is  this  rule  observed  !  Instead  of  the  flat  diaper 
in  imitation  of  stencil  design,  an  at- 
tempt is  made  to  show  figures  in  re- 
lief with  shades  and  shadows.  This 
is  in  bad  taste,  and  produces  a  dis- 
agreeable effect.  Such  vulgarisms 
are,  however,  happily  passing  away  ; 
yet  the  public  taste  is  far  from  be- 
ing cultivated  in  these  matters;  and 
paper,  instead  of  forming  a  back- 
ground to  sculpture,  pictures,  and  ar- 
ticles of  rirlu,  is  apt  to  assert  itself 
far  beyond  its  due  importance. 

A  wall  surface  cannot  be  beauti- 
ful linll'HS  the  fonim   Upon   it   be   of  FiS-s — Guelder-rose  for  Floor  Pattern. 

good  design,  and  the   colors  harmoniously  applied  ;    yet  even   in  good 
houses,  we  find  walls  which  would  often  be  effective  if  treated  in  plain 


Fig.  7.— Guelder-rose  for  Wall-diaper. 


PAPER-HANGING.  165 

tints,  rendered  offensive,  rather  than  pleasing,  by  the  decorations  they 
bear. 

It  is  not  our  province  here  to  give  special  rules  for  the  designing  of 
wall-paper,  yet  one  or  two  suggestions  on  this  subject  may  not  be  inap- 
propriate. A  favorite  treatment  of  wall-surface,  either  in  paper  or  paint- 
ing, is  that  of  natural  foliage,  and  here  it  becomes  important  to  study  the 
principles  upon  which  Nature  works.  Mr.  Dresser  suggests  that  the  walls 
being  perpendicular,  it  is  necessary  that  the  plant  should  be  viewed  from 
the  side,  and  have  an  upward  direction,  as  in  Fig.  7.  This,  however,  would 
not  apply  to  a  carpet  or  ceiling,  as  it  would  not  be  in  character  to  repre- 
sent the  flowers  vertically.  Fig.  7  is  one  of  Mr.  Dresser's  designs,  repre- 
senting the  guelder-rose,  as  seen  from  the  side,  and  would  be  appropriate 
as  a  wall-diaper.  Fig.  8  is  the  same  spray  as  seen  from  above,  or,  to  use 
the  same  form  of  expression,  as  would  be  appropriate  if  used  as  a  floor 
pattern.  Dr.  Dresser  is  one  of  the  leading  wall-paper  designers  in  Eng- 
land. One  of  his  designs  is  represented  in  Fig.  2.  Fig.  4  was  designed 
by  "Walter  Crane  especially  for  the  Centennial  Exhibition,  and,  like  the 
two  former,  was  taken  from  the  Building  News. 


166  MODERN   DWELLINGS. 


CHAPTEK  IV. 

CEILINGS. 
Cornices. — Mouldings. — Location  of  Chandelier. — Country  Decorators. 

plaster  cornices,  at  one  time  so  popular,  are  happily  going  out  of 
J-  fashion.  They  are  frequently  replaced  by  a  simple  gilt  moulding 
only.  From  it  pictures  are  sometimes  suspended ;  but  when  there  is  no 
other  decoration,  the  moulding  appears  too  frail  to  support  so  much 
weight.  It  is  better  to  employ  a  different  means  of  attaching  paintings 
to  the  wall,  unless  there  is  a  frieze  of  some  description.  When  this  is  pres- 
ent, however,  it  may  be  terminated  with  a  moulding,  from  which  pictures 
can  be  suspended  with  perfect  propriety. 

In  decorating  ceilings,  paper  may  be  used,  provided  tasteful  patterns 
be  selected.  They  should  never  consist  of  tawdry  imitations  of  fresco, 
with  cunning  corners  and  marvellous  centres. 

The  position  of  the  principal  gas-fixture  is  somewhat  important.  Fre- 
quently it  is  placed  in  a  central  position  between  the  fireplace  and  the 
wall,  without  regard  to  the  whereabouts  of  the  windows  and  doors.  Thus 
it  interferes  with  the  laying  out  of  the  ceiling.  The  proper  position  is  at 
the  intersection  of  lines  drawn  from  diagonally  opposite  corners. 

It  may  not  be  inappropriate  to  introduce  around  the  ceiling  a  margin 
of  some  tasteful  design  in  wall-paper — one,  for  instance,  in  which  brilliant 
colors  appear  on  a  gold  ground.  In  a  large  room,  the  effect  would  be  good 
if  this  margin  were  the  entire  width  of  the  roll.  It  might  also  be  appro- 
priately edged  with  a  wooden  moulding.  These  mouldings  should  be 
small  and  unobtrusive ;  and  if  an  inlay  of  one  or  two  inches  wide  be  made 
to  skirt  the  border,  a  moulding  on  both  sides,  covering  the  joinings,  would 
appear  to  advantage.  As  a  general  rule,  if  light,  transparent  tints  are 
used,  the  mouldings  should  be  black.  If  a  dark  or  maroon  inlay  is  em- 
ployed, gilt  mouldings  would  make  a  pleasing  contrast.*  The  remainder 

*  A  large  HK'nM ii,,_r  on  top  of  tlie  dado  may  frequently  be  employed  with  .advantage. 
It  not  only  improves  the  appearance,  but,  if  placed  at  the  proper  height  above  the  floor, 


CEILINGS.  167 

of  the  ceiling,  if  low,  should  be  of  some  tint  calculated  to  give  an  appear- 
ance of  elevation,  such  as,  for  instance,  one  of  the  many  delicate  shades  of 
blue  or  violet.  If,  however,  there  be  sufficient  height  to  warrant  it,  a  rose 
tint,  or  a  buff,  appears  well,  provided  the  general  tone  of  the  room  will 
permit.  Violet  has  the  advantage  not  only  of  increasing  the  height,  but 
it  will  also  harmonize  with  paper  of  a  green  or  olive  tint,  these  being 
among  the  best  colors  for  a  wall. 

In  regard  to  tinting  walls  and  ceilings,  it  is  the  custom  to  delay  these 
finishing  touches  for  a  year  or  two,  in  order  to  allow  the  walls  to  season, 
as  during  this  process  there  is  always  more  or  less  danger  of  their  crack- 
ing. For  this  reason,  the  final  application  of  color  and  decoration  is  usu- 
ally postponed  until  the  house  is  thoroughly  settled.  We  are,  therefore, 
often  compelled  to  endure  the  monotony  of  white  walls  for  some  time. 
The  advantage  of  wall-paper  is,  that  we  can  always  order  one  or  two  extra 
rolls,  so  that,  in  case  of  any  cracking,  the  blemishes  may  be  easily  repaired. 
The  fresh  paper  can  be  so  nicely  adjusted  as  to  prevent  a  possibility  of  de- 
tection ;  whereas,  in  painting,  it  is  usually  necessary  to  go  over  the  whole 
room,  it  being  nearly  impossible  to  match  the  color  exactly. 

The  necessity  of  waiting,  if  paint  is  to  be  used,  is,  in  one  respect,  unfort- 
unate ;  for  in  the  interval  one  is  apt  to  get  out  of  the  spirit  of  the  design, 
and  when  the  time  arrives  at  which  the  walls  are  to  be  decoiated,  instead 
of  applying  to  the  architect  to  superintend  this,  the  crowning  part  of  his 
work,  ninety-nine  times  in  a  hundred,  as  before  stated,  the  owner  calls 
upon  the  nearest  fresco-painter,  and  verifies  our  previous  remarks.  There- 
fore, I  suggest  the  use  of  wall-paper,  in  order  that  the  finishing  touches 
may  be  applied  at  once. 

Painters,  too,  especially  in  the  country,  have  so  little  idea  of  their  art 
that  it  is  almost  impossible  to  get  a  satisfactory  piece  of  work  done.  In 
this,  as  in  other  matters,  it  is  frequently  supposed  that  it  is  only  necessary 
for  the  architect  to  give  his  ideas,  and  that  an  ignorant  mechanic  may  be 
trusted  to  carry  them  out.  The  fact  is,  that  unless  he  stands  over  the 
work,  and  virtually  does  it  himself,  he  will  hardly  be  able  to  recognize  his 
own  design.  This  business  of  gratuitously  teaching  the  quasi-decorator 
the  mysteries  of  his  art  is  too  often  inflicted  upon  the  professional  man, 
whose  only  reward  is  the  odium  provoked  by  badly  executed  work.  If 


it  will  also  serve  to  protect  the  wall  from  the  chafing  of  chairs  and  other  furniture.  For 
the  reason  that  we  have  before  expressed — that  the  lower  members  ought  never  to  be 
light — gilt  mouldings  should  not  be  placed  below  the  level  of  the  eye.  Therefore,  black 
walnut  or  ebony  are  more  appropriate  here. 


168  MODERN  DWELLINGS. 

the  same  person  would  continue  with  the  master,  the  latter  would  be  able 
to  reap  some  benefit  from  the  instruction  he  gives,  by  getting  subsequent 
work  properly  performed.  In  this  case  the  teaching  might  be  a  pleasant 
task ;  but,  in  his  next  undertaking,  another  painter  is  usually  employed, 
who  exceeds  the  last  in  ignorance  and  stupidity.  Thus  the  same  ordeal 
must  be  gone  through  again. 

The  problem  is  yet  to  be  solved  how  good  work  can  really  be  done 
remote  from  cities,  unless  the  architect  assumes  the  position  of  "boss 
painter,"  and  brings  his  own  workmen.  Usually,  when  he  suggests  that 
mechanics  from  some  other  locality  understand  the  work  better,  he  is  met 
with  the  reply  that  there  are  excellent  painters  in  the  town,  and  he  would 
be  liable  to  give  offense  should  he  undertake  to  employ  others.  The  coun- 
try produces  painters  capable,  perhaps,  of  doing  external  work ;  for  here 
the  colors,  which  are  generally  few,  and  neutral  in  their  character,  can 
easily  be  given  by  sample ;  but  in  the  case  of  interior  decoration,  where  a 
higher  degree  of  skill  is  required,  the  ability  of  our  country,  and,  perhaps, 
of  most  of  our  city  "  artists,"  may  well  be  questioned.  Indeed,  it  is  scarcely 
too  much  to  say  that  those  possessing  positive  skill  can  almost  be  counted 
on  one's  fingers. 

"Wall-papers  are  a  simple  remedy  for  this  difficulty,  as,  when  the  selec- 
tions have  once  been  made,  all  that  is  then  necessary  is  to  find  a  man  who 
can  properly  apply  them.  But  even  here,  when  the  architect  selects  the 
paper,  it  is  well  for  him  to  make  a  drawing,  showing  where  each  particu- 
lar pattern  should  hang,  and  also  to  give  the  matter  sufficient  attention 
during  the  work  to  see  that,  after  all,  the  design  is  carried  out. 

A  wall  may  be  tinted  with  a  distemper  color  or  oil  "  flatted."  The 
flattening,  which  is  simply  removing  the  gloss  by  means  of  stippling,  is  a 
great  improvement ;  for  shiny  walls,  like  varnished  furniture,  are  objection- 
able. Oil-color,  on  account  of  its  durability,  seems  preferable.  Another 
advantage  is,  that  it  can  be  cleaned  without  suffering  damage.  But,  so  far 
us  delicacy  of  tint  is  concerned,  water-colors  are  more  beautiful. 

A  good  effect  may  be  obtained  by  the  introduction  of  a  gold  back- 
ground, upon  which  a  small  black  figure  or  running  pattern  is  placed. 
In  such  cases  more  gold  than  black  should  be  visible.  On  a  background 
of  this  kind,  pictures  in  ebony  and  gilt  frames  appear  to  great  advantage. 


BORDERS. 


169 


CHAPTER  V. 

BORDERS. 
Ceilings.  —  Friezes.  —  Stamped  Leather.  —  Legendary  Decoration.  —  Wood-panelliug. 


are  especially  susceptible  to  ornamentation,  for  the  reason 
that  their  entire  surface  may  be  seen  at  once.  If  we  wish  to  limit 
the  decoration  of  our  rooms,  let  us  expend  our  efforts  here,  as  the  walls 
and  floors  can  be  relieved  by  pictures  and  furniture.  I  would  recommend 
the  avoidance  of  structural  members,  and  especially  of  that  chef  d'ceuvre 
of  plaster  art,  the  centre-piece,  with  its  impossible  flowers  and  feeble  or- 
naments. It  would  be  better  to  use  some  flat  design  in  color,  making  it 
the  principal  feature  of  the 
ceiling,  reaching,  if  you 
choose,  to  within  a  few 
inches  of  the  border  :  I 
say  border,  as  the  cornice, 
unless  broad,  is  much  im- 
proved by  being  extended 
with  a  margin  of  color. 
Now,  these  borders  on  the 
ceiling  are  like  the  dado 
on  the  wall,  and  have  the 
effect  of  breaking  up  its 
broad  surface.  The  same 

rule  applies  to  floors.     By  surrounding  them  with  a  margin  of  darker 
color,  a  similar  advantage  is  attained. 

Friezes  may  be  treated  as  elaborately  as  desired.  They  may  be  pow- 
dered, or,  if  divided  into  panels,  richly  colored,  either  in  flat  or  in  relief. 
If  this  system  be  adopted,  subjects  appropriate  to  the  apartment  should  be 
chosen.  If,  for  instance,  the  frieze  of  a  dining-room  be  panelled,  fruits 
and  game  would  be  in  keeping  ;  if  continuously  treated,  some  convivial 
assemblage,  or  perhaps  a  hunting  scene,  would  be  proper.  In  a  parlor. 
flowers  would  appear  well  ;  or,  if  there  are  no  panels,  a  mythological  scene, 


170  MODERN  DWELLINGS. 

introducing,  for  instance,  the  Muses,  or  other  appropriate  figures.  In  a 
library,  portraits  of  authors  would  do,  or,  if  continuous,  scenes  from  histor- 
ical or  poetical  works.  A  library  by  Messrs.  Cox  &  Sons  has  the  follow- 
ing lines  from  Tennyson's  "  Lady  of  Shalott,"  carried,  as  seen  in  Fig.  1 . 
along  the  under  side  of  the  frieze : 

"And  there  the  surly  village  churls, 
Aud  the  red  cloaks  of  market  girls, 
Pass  onward  from  Shalott. 

"  Sometimes  a  troop  of  damsels  glad, 
An  abbot  on  an  ambling  pad, 
Sometimes  a  curly  shepherd-lad, 
Or  long-hairM  page  in  crimson  clad, 

Goes  by  to  tower'd  Camelot ; 
And  sometimes  thro'  the  mirror  blue 
The  knights  come  riding  two  and  two." 

Each  line  which  is  illustrated  fills  a  section,  and  the  whole  forms  a 
pictorial  text,  reaching  entirely  around  the  room. 

Fig.  5  represents  a  hunting  scene  taken  from  the  catalogue  of  the 
same  firm,  and  intended  for  a  dining-room  frieze.  It  is  the  work  of  Mr. 
Rossiter,  and  is  a  good  example  of  his  many  happy  efforts  in  wall  deco- 
ration. 

Some  beautiful  effects  are'  obtained  by  the  introduction  of  stamped 
leather.  In  some  cases  the  ancient  leather  is  used,  which  material,  al- 
though much  sought  after  by  collectors,  can  still  be  obtained  from  some 
of  our  dealers  in  bric-a-brac  at  quite  reasonable  prices.  In  one  house  I 
have  in  mind,  where  the  frieze  was  of  this  material,  the  wall  space  was 
covered  with  mediaeval  tapestry. 

There  is  a  quaint  style  of  decoration,  of  which  we  give  two  illustrations. 
Being  something  of  the  Albert  Diirer  school,  it  is  suitable  for  panels  and 
stained  glass.  The  garden  scene  (Fig.  6),  from  Cox  &  Sons,  is  by  the  cel- 
ebrated J.  Moyr  Smith,  the  well-known  illustrator  of  some  of  Marcus 
Ward's  publications ;  and  the  harbor  scene  (Fig.  9),  showing  ships  and 
fortress,  is  by  Mr.  B.  J.  Talbert.  Both  are  striking  illustrations  of  this 
style. 

A  great  deal  of  feeling  as  well  as  effect  may  be  shown  by  what  is 
known  as  legendary  decoration ;  that  is,  the  working  up  texts  and  prov- 
erbs along  our  walls.  Friezes  offer  especial  opportunity  for  this.  Sen- 
tences may  also  be  placed  over  door-ways  in  such  a  manner  as  not  only  to 
express  a  sentiment,  but  denote  the  purpose  of  the  apartment ;  as,  for  ex- 


BORDERS. 


171 


ample,  "  Welcome  "  over  a  reception-room ;  or  "  Hospitality  "  over  a  din- 
ing-room. Some  very  appropriate  devices  for  fireplaces  have  been  em- 
ployed with  significance  and  effect,  such  as,  "  Well  befall  hearth  and  hall !'' 

I  have  recently  fitted  up  two  dining-rooms,  in  which  this  style  of  dec- 
oration is  worked  into  the  stained  glass.  Among  others,  I  selected  the 
following  mottoes :  "  Hunger  is  the  best  sauce ;"  "  Welcome  is  the  best 
cheer ;"  "  Eat  at  pleasure ;  drink  by  measure." 

Upon  the  walls  of  dwelling-houses  of  the  sixteenth  and  seventeenth 
centuries,  a  system  of  wood-panelling  was  employed  with  very  satisfactory 
results.  The  mouldings  seldom  projected  beyond  the  surface,  but  were 
cut  in  solid  wood.  The  panel  itself  projected  slightly,  as  illustrated  in 
the  diagram  (Fig.  10),  which  repre- 
sents that  over  a  fireplace.  The 
centre  ornament  may  be  carved  in 
wood,  modelled  in  plaster,  or  sten- 
cilled on  its  surface.  Should  a  low 
mirror  be  placed  beneath,  it  would 
be  in  keeping  to  have  the  glass  bev- 
elled like  the  panels.  The  stiles 
were  frequently  moulded  with  sunk- 
en grooves  upon  their  surfaces,  re- 
sembling the  ridges  on  old-fashion- 
ed gingerbread,  a  term  first  applied 
to  this  kind  of  ornamentation,  and 
afterward  to  tawdry  decoration  of 
wood-work  in  general.  These,  how- 
ever, seldom  returned,  but  ran  con- 
tinuously to  the  end  of  the  member. 
The  ceilings  were  occasionally  treat- 
ed in  a  similar  manner,  but  more  frequently  the  rafters  were  left  ex- 
posed, the  edges  being  moulded  and  embellished  with  color. 

After  the  introduction  of  plastered  walls,  this  panelling  was  simply 
applied  as  a  wainscot,  the  usual  height  being  from  one-third  to  one-half 
of  the  wall.  Another  system,  also  much  in  vogue,  was  that  of  hanging 
the  walls  with  tapestry.  Haddon  Hall,  one  of  the  finest  baronial  man- 
sions of  that  period,  was  treated  in  this  manner.  One  peculiarity  of  this 
structure  was  the  absence  of  wood-work  around  the  door-ways,  so  that 
when  the  doors  were  closed,  being  covered  with  the  same  material,  they 
did  not  produce  a  break  in  the  pattern. 

Another  favorite  custom  of  the  Queen  Anne  period,  before  paper- 


Fig.  10.— Wood  Panel. 


172  MODERN  DWELLINGS. 

hanging  was  invented,  was  to  cover  the  walls,  above  the  wainscot,  with 
stamped  leather.  This  system  of  decoration,  as  before  mentioned,  was 
productive  of  some  of  the  best  results.  The  ground-work  was  usually  of 
silver  or  gold,  upon  the  surface  of  which  scroll-work  of  the  period  was 
introduced  in  relief.  This  was  frequently  treated  with  some  of  the  rich- 
est effects  of  color,  the  whole  producing  an  exquisite  result,  and  one  which 
our  modern  paper-stainers  have  failed  to  achieve. 


BACKGROUNDS.  173 


CHAPTER  VI. 

I 

BACKGROUNDS. 
Harmony  of  Colors. — Majolica  Ware. — Bric-a-brac. 

following  remarks  are  taken  from  some  of  the  leading  English 
authorities :  "  Wherever  pictures  are  hung,  the  hangings  should  be 
of  one  or  two  tones  of  the  same  color.  Another  important  rule  is:  if  one 
large  picture  forms  the  decoration,  the  dominant  color  of  the  paper  should 
be  complementary  to  that  of  the  painting.  For  gilt  frames,  olive  -gray 
and  deep  green  are  appropriate.  It  has  been  laid  down  by  Chevreul  that 
engravings  or  lithographs  should  never  be  placed  beside  colored  pictures. 
The  same  rule  holds  good  with  regard  to  all  monochromes,  such  as  photo- 
graphs, though  we  may  often  see  the  mixture  in  drawing-rooms,  whose 
occupants  would  scorn  to  be  told  of  their  want  of  taste.  A  light  gray,  or 
neutral  tint,  or  dark  maroon  is,  perhaps,  best  adapted  for  engravings.  The 
predominant  color  of  the  furniture  should  be  studied  after  that  of  the  pict- 
ures and  other  works  of  art.  A  '  harmony  of  analogy,'  in  which  the  colors 
of  both  walls  and  furniture  enter,  may  be  adopted,  or,  at  least,  a  contrast 
between  them.  If  mahogany  is  the  prevailing  material,  the  wall,  as  well 
as  the  carpet,  should  be  devoid  of  reddish  or  orange  tints.  The  walls  and 
floors  should  agree  by  approximation  of  color,  though  of  different  tones, 
with  that  of  the  furniture ;  or,  if  a  contrast  be  desired,  the  walls  and  floor 
may  be  of  some  color  complementary  to  the  furniture. 

"  For  old  china,  if  the  prevailing  color  is  blue,  the  wall-tints  should  be 
complementary — composed  of  red  and  yellow.  Citrine  and  orange  grays 
are  best  adapted.  Greens  partake  too  much  of  the  color  to  afford  a  due 
contrast.  Where  objects  of  high  art  do  not  intrude,  our  walls  and  rooms 
should  be  studied  solely  with  regard  to  architectural  propriety,  lighting, 
etc.  For  example,  a  suite  of  rooms,  communicating  by  folding-doors  or 
openings,  should  harmonize  as  much  as  possible.  Thus,  the  dining  and 
billiard  rooms  may,  in  many  houses,  if  en  suite,  be  treated  in  the  same 
manner.  They  may  have  the  walls  painted  or  stuccoed  of  a  gray-drab  or 
chocolate  hue,  or  they  may  be  panelled  throughout.  For  wood-panelled 
walls,  parquetry  or  wooden  floors  are  more  agreeable  than  tiles. 


174  MODERN   DWELLINGS. 

"Woven  wall-hangings,  and  stuffs  for  seats  and  curtains,  need  equal 
care  in  the  assortment  of  the  colors.  The  wood-work  of  the  room,  or  the 
furniture,  should  afford  a  pleasing  contrast  with  the  stuffs,  so  that  each 
may  be  enhanced.  Thus,  violet  or  blue  stuffs  contrast  best  with  yellow 
or  orange-colored  woods,  and  green  stuffs  with  red-colored  woods,  such  as 
rosewood  and  mahogany.  The  same  applies  to  grays  in  which  either  of 
these  hues  predominates.  But  depth  of  tone  is  another  consideration.  A 
deep-colored  stuff  is  contrasted  best  with  a  wood-color  of  the  same  depth. 
If  the  tones  are  very  different,  the  same  color  for  both  stuff  and  wood  is 
desirable,  or  a  harmony  of  analogy  becomes  best.  The  same  with  wood- 
panelling." 

A  friend  of  mine  once  remarked  that  he  had  never  particularly  ad- 
mired faience  or  majolica  ware  until  he  visited  the  British  Commissioners' 
Buildings  at  the  Centennial  Exhibition.  There  he  was  particularly  im- 
pressed by  the  beauty  of  these  manufactures,  as  the  peculiar  and  somewhat 
subordinate  treatment  of  the  rooms,  furniture,  and  decorations  set  them 
off  to  the  best  advantage.  In  every  case  the  wall-paper  harmonized  so 
perfectly  as  to  make  them  appear  like  jewels  against  its  surface. 

There  are  many  families,  having  fine  collections  of  china  and  porcelain, 
who  lock  them  up  carefully  in  a  dark  closet,  or,  at  best,  set  them  in  a  glass 
cupboard  in  the  butler's  pantry,  where  they  are  of  no  use  and  seldom  seen. 
Now,  did  the  possessors  of  these  gems  only  know  what  exquisite  effects 
might  be  produced  by  displaying  them  upon  the  walls  of  their  parlors  and 
living-rooms,  they  would  not  suffer  them  to  remain  long  in  obscurity.  A 
rare  piece  of  china  upon  the  wall  is  often  more  effective  than  many  orna- 
ments or  pictures.  The  dining-room  of  Mr.  George  W.  Wales,  of  Boston, 
is  an  example  of  this  treatment.  The  crimson  walls,  harmonizing  with 
the  green  effects  of  the  ceiling,  make  a  good  background  for  the  many 
pieces  of  porcelain  which  hang  there. 

Mr.  Charles  W.  Elliot,  in  his  new  book  on  "American  Interiors,"  speaks 
of  this  room  as  follows :  "  With  the  exception  of  a  few  pictures  lost  among 
them,  the  walls  are  occupied  with  fine  examples  of  Chinese  and  Japanese 
porcelain,  a  few  pieces  of  European  work,  and  some  delft  plates.  Mr. 
Wales's  collection  of  china  is  known  as  the  largest  and  best  in  Boston,  and 
the  method  he  has  adopted  of  hanging  some  small  part  of  it  is  brilliant 
and  effective." 


ADVANCED  ARTS  ABROAD.  175 


CHAPTER  VII. 

ADVANCED  ARTS  ABROAD. 
Some  Descriptions  of  late  English  Work. 

A  SLIGHT  description  of  some  of  the  late  English  work  that  has 
grown  out  of  the  present  revival  may  serve  to  illustrate  a  few  of 
the  more  important  principles  of  decoration.  In  the  Royal  Academy  Ex- 
hibition of  1876,  there  was  a  view  of  the  dining-room  belonging  to  the 
residence  of  Mr.  Henry  Taylor,  Avenue  Road,  Regent's  Park,  London, 
which  has  been  recently  remodelled  from  the  designs  of  Mr.  J.  "SV.  Bry- 
don.  The  whole  of  the  panelling  around  the  room,  including  bay-win- 
dow, the  front  of  the  sunken  fireplace,  etc.,  is  of  oak,  stained  dark  and 
wax  -  polished,  while  the  walls  above  the  panelling  are  covered  witli 
stamped  leather.  The  bay-window  opens  in  the  centre  into  a  large  con- 
servatory, while  from  a  window  in  the  side  opposite  the  fireplace  most 
charming  views  of  the  grounds  are  obtained.  The  furniture,  which  is  also 
of  oak,  a  quaint  bookcase  in  one  corner,  and  a  table  at  the  bay-window, 
are  especially  worthy  of  notice.  The  style  throughout  is  an  adaptation  of 
old  English  work,  which  seems  to  lend  itself  very  easily  to  modern  re- 
quirements. At  the  entrance  to  the  grounds  there  is  a  picturesque  lodge, 
also  in  the  same  style,  built  of  red  brick  and  half-timbered  work,  present- 
ing a  carefully  designed  gable-window  toward  Avenue  Road. 

Another  of  Mr.  Brydon's  designs  at  the  Academy  is  the  hall  and  stair- 
case of  a  house  at  Salna,  the  residence  of  Thorsten  Nordenfelt,  Esq.,  one 
of  the  commissioners  for  Sweden.  This  is  also  a  good  study  of  seven- 
teenth-century work,  adapted  to  the  requirements  of  a  modern  country 
residence.  The  staircase  and  the  panelling  of  the  hall  are  executed  in 
pine,  stained  dark,  and  waxed.  The  chimney-piece  is  of  American  walnut ; 
the  coping  around  the  hearth  (which  takes  the  place  of  the  fender)  and 
the  jambs  are  of  fossil  marble ;  the  sides  of  the  fireplace  and  hearth  are  of 
tile.  The  floor  of  the  hall  is  of  oak,  stained  dark,  with  parquetry  border. 
All  the  interior  fittings,  including  furniture  and  decoration,  have  been 
most  carefully  worked  out  from  drawings  by  the  architect. 


176  MODERN  DWELLINGS. 

Another  Academy  drawing  illustrates  a  dining-room  designed  by  Mr. 
B.  J.  Talbert.  A  screen  is  shown  in  which  stained-glass  panels  are  intro- 
duced, the  principal  framing  being  oak  with  ebony  mouldings.  The  oak, 
instead  of  being  stained  in  the  usual  way,  is,  however,  treated  by  fumiga- 
tion, so  as  to  get  a  dark-brown  color  from  the  wood  itself.  This  is  not 
merely  on  the  surface,  but  penetrates  for  a  considerable  distance.  The 
dado  is  of  waxed  pine ;  the  walls  are  of  a  neutral-green  color,  with  a  small 
stencilled  diaper  of  red  and  yellow,  separated  by  gold  lines.  Above  this, 
the  frieze  has  panels  with  alternate  black  and  gold  ground,  ornamented 
with  fish,  fowl,  fruit,  etc. 

The  green  parlor  at  Doune  Lodge,  by  Mr.  J.  Moyr  Smith,  is  well 
worth  noticing.  The  chimney-piece  is  of  unpolished  oak,  with  illustrated 
tiles  of  buff  and  brown.  The  subjects  are  selected  from  the  industrial 
and  historical  designs  executed  by  this  celebrated  artist.  The  tiles  near- 
est the  grate  are  of  Dutch  manufacture,  and  are  ornamented  with  floral 
decorations  upon  a  dark-blue  ground.  The  subjects  of  the  stained  glass 
in  this  room  are  connected  with  Egyptian,  Greek,  and  Gothic  art,  the  actu- 
al painting  being  done  by  Mr.  Smith  himself.  The  wood-work  of  the  win- 
dows, doors,  etc..  is  painted  a  bluish  green.  The  dado  is  of  a  rich  color, 
chiefly  composed  of  carmine  and  brown  pink.  The  upper  part  of  the  wall 
is  of  a  tint  between  a  citrine-green  and  drab,  the  pattern  being  of  a  lighter 
shade  of  the  same. 

The  following  extract  from  the  Building  News  is  a  description  of  Mr. 
Norman  Shaw's  dwelling  at  Hampstead  : 

"  On  a  charming  slope  commanding  an  extensive  dell  of  the  landscape, 
Mr.  Norman  Shaw,  A.R.A.,  has  built  himself  a  house  of  the  thorough 
Queen  Anne  style.  No  one  can  mistake  the  authorship :  the  tall  chimney 
shafts,  with  vertical  strips  of  cut  brick-work,  terminating  in  a  moulded 
cornice  of  brick,  with  their  end  faces  relieved  by  pedimental  compositions, 
rise  from  a  tiled  roof,  and  put  us  in  mind  of  a  dozen  other  works  by  the 
same  architect.  In  plan  the  house  is  rectangular;  the  front  is  straight- 
faced,  broken  by  two  bays  of  singular  difference  in  treatment,  and  for  any- 
thing the  casual  observer  may  divine,  the  small,  flat-faced,  circular-cornered 
oriel  of  rough  plaster  and  wood,  breaking  out  from  one  side,  may  be  an  in- 
sertion of  later  date.  On  the  other  side,  the  bay  springs  from  the  ground, 
and  is  a  bold  semi-octagon  in  plan,  the  upper  two  stories  being  corbelled 
out  from  the  lower  portion  by  a  very  characteristic  corbel  of  red  cut  brick- 
work, in  which  a  deep  cyma-reversa  moulding  is  conspicuous.  Over  both 
bays  are  deeply  moulded,  painted,  wooden  barge-boards,  with  ornamental 
tile  h'lling-in  to  gables,  and  between  the  larger  bay  and  the  angle  of  roof 


ADVANCED  ARTS  ABROAD. 


177 


there  is  a  quaint  cutting-back  of  the  roof,  with  a  weather-boarded  front 
and  door — a  sort  of  cosy  belvedere  or  gallery,  from  which  the  landscape 
may  be  surveyed  over  the  parapet.  The  windows  are  irregular  in  height 
and  position,  betraying  a  want  of  uniformity  in  the  interior  levels,  and 


Fig.  11.— Hall  aud  Staircase. 

are  arched  seginentally ;  the  arches  have  the  moulded  label  and  keystone, 
and  the  sills  cut-brick  fringings.  Though  entirely  of  red  brick,  there  is 
a  pleasing  contrast  in  the  painted  white  wooden  window-frames  and  sash- 
bars  and  the  circular-shaped  heads  and  transoms  in  the  oriel,  while  the 
rough  and  weather-stained  plastering  between  the  windows  of  the  latter 

12 


178 


MODERN  DWELLINGS. 


increases  the  piquancy.  The  dining-room  has  a  novel  and  unique  interior. 
It  is,  we  understand,  very  lofty — fifteen  or  sixteen  feet  high  ;  the  fireplace 
is  large  and  deep,  forming  a  recess  for  '  side  settles,'  while  above  it  an 


Fig.  12. — "  Anglo-Japanese  "  Parlor. 

octagon-shaped  bay-like  projection,  with  a  casement,  protrudes,  and  forms 
a  small  retreat  overlooking  the  room  :  access  to  this  '  little  sanctum '  is 
obtained  from  a  small  door  at  the  side  of  the  fireplace.  In  another  room 
of  about  eight  feet  pitch,  projecting  screens  of  wood -work  slightly  on 
the  splay  form  a  deep  recess  for  the  fireplace,  on  one  side  of  which  is 
an  outlook  with  a  settle,  reached  by  a  few  steps  from  the  floor  level.  To 
all  intents,  we  have  here  an  artist's  house,  in  which  conventional  arrange- 
ments are  superseded  both  internally  and  externally.  Whatever  the  opin- 
ion of  the  ordinary  passer-by  may  be,  Mr.  Shaw,  in  this  instance,  has 
allowed  his  artistic  predilections  full  scope,  and  has  shown,  at  least,  how 
red  brick-work  and  wide-barred  sash-frames  may  be  made  picturesque  by 
boldly  rejecting  all  modern  notions  of  house-building." 

Perhaps  one  of  the  most  remarkable  specimens  of  decoration  is  a 
room  which  is  now  being  executed  in  London  by  the  celebrated  artist, 
Mr.  Whistler.  The  following  extract  from  one  of  Mr.  G.  W.  Smalley's 
letters  to  the  New  York  Tribune  gives  an  interesting  description : 

"  London,  Fcbuary  17th. 

"  One  of  the  things  in  London  most  talked  about  for  a  week  or  two 
past  lias  been  Mr.  Leyland's  dining-room,  to  the  decoration  of  which  Mr. 


ADVANCED  ARTS  ABROAD. 


17U 


Whistler  has  devoted  himself.  Friends  of  the  artist  have  been  permitted 
from  time  to  time  to  have  glimpses  of  it,  but  it  is  only  quite  lately  that 
the  work  has  come  near  enough  completion  for  the  layman  to  judge  of  the 
general  effect.  I  have  seen  it  twice,  but  I  quite  despair  of  giving  any- 
thing like  an  adequate  description  of  it.  Mr.  Whistler  names  it  the  Pea- 
cock Room,  and  calls  his  decorative  work  a  harmony  in  blue  and  gold. 
These  two  colors,  and  these  only,  are  to  be  seen  on  walls,  and  ceiling,  and 
floor.  The  only  design  employed  is  from  the  peacock — either  the  bird 
himself,  or  his  plumage,  or  his  eye.  With  this  severely  simple  motif,  the 
variety  obtained  is  very  great.  The  room  is,  I  should  guess,  thirty  feet 
by  twenty,  and  fifteen  feet  high.  The  ceiling  is  divided  into  sections,  and 
upholds  eight  pendent  lamps,  which  reach  downward  not  more  than  three 
feet  into  the  room.  The  lamps  are  each  treated  as  centres,  and  from  each 
is  seen  spreading  a  pattern  invented  from  the  eye  of  the  peacock.  The 
groundwork  of  the  whole  ceiling  is  gold,  and  on  this  the  eye  is  repeated 
in  different  arrangements,  alternating  with  a  pattern  from  the  biva.-r 
feathers.  Wherever  on  the  walls  there  is  a  gold  groundwork,  the  treat- 
ment is  the  same  or  similar — there  are  but  the  two  patterns ;  yet  so  inge- 
niously are  they  varied,  that  at  first  sight  you  would  say  the  patterns  were 
a  dozen  or  more.  They  are  diversified  in  size,  and  the  actual  touch  of  the 
brush  is  never  in  two  places  quite  the  same ;  but  from  his  fidelity  to  his 
pattern  the  painter  never  departs.  I  need  not  point  out  how  much  high- 
er is  the  ingenuity  requisite  to  attain  a  successful  result  with  means  so 


Fig.  13.— Library  Table. 


simple  than  if  the  artist  had  permitted  himself  to  introduce  other  forms. 
The  eye  reappears  all  along  the  lower  edge  of  the  cove  beneath  the  throat 
feathers,  with  which  the  cove  itself  is  overlaid.  On  the  dado,  or  that  part 
of  the  wall  which  rises  for  some  three  feet  immediately  above  the  skirt- 


180 


MODERN  DWELLINGS. 


in<r-board,  blue  on  gold  appears,  as  on  the  ceiling,  the  pattern  sometimes 
larger  and  sometimes  smaller,  and  the  eye,  the  breast  feathers,  and  the 
throat  feathers  being  combined  dissimilarly,  with  effects  changing  wher- 
ever you  look,  but  always  on  examination  disclosing  the  same  secret.  On 


Fig.  14.— Hall  Settle. 

the  walls,  from  floor  to  ceiling,  light  square  shafts,  divided  by  shelves  and 
supported  by  corner  brackets  of  quaint  device,  break  the  wall  surface  here 
and  there  on  all  sides  into  niches,  which  are  to  hold  old  Nankin  blue-and- 
white  china.  The  unbroken  wall  surface  is  lined  with  leather,  and  colored 
deep  blue ;  on  this  blue  the  eye  and  the  feathers  are  revealed  once  more 
in  gold.  The  splendor  would  be  quite  intolerable  if  the  blue  and  gold 
had  everywhere  met  in  small  patterns  or  in  any  pattern ;  but  the  eye — I 
mean  the  human  eye  of  the  spectator — gets  the  repose  it  needs  on  broad 
spaces  of  pure  blue  at  the  sides,  the  floor  again  being  covered  with  a  car- 
pet of  blue,  free  from  any  figure  or  color  whatever.  The  shutters  to  the 
three  windows  on  one  of  the  long  sides  are  closed,  and  down  a  gold 
ground  the  sweeping  tails  of  three  royal  birds  descend  in  blue  waves  to 
the  floor.  At  the  farther  end  the  entire  wall  above  the  dado  is  blue,  but 
here  the  apotheosis  of  the  peacock  is  reached,  and  the  poem  rises  to  its 
highest  strain.  It  is  a  peacock  Valhalla,  where  two  of  them  are  fighting 
over  again  the  battles  of  the  earth — two  gorgeous  creatures,  all  gold,  with 
ruffled  plumage  and  eyes  of  flame,  filled  with  such  spirit  and  pride  as  no 
merely  mortal  birds  ever  showed  to  mortal  man.  The  eye  of  flame  in 
one  is  an  emerald,  in  the  other  a  diamond.  At  the  opposite  extremity  of 
the  room,  over  the  fireplace,  where  a  mirror  is  commonly  found,  hangs  a 
peaceful  portrait  in  oil  of  a  famous  Greek  beauty,  which  left  Mr.  Whis- 
tler's easel  many  years  ago.  The  furniture  is  to  be  gold ;  the  chairs  gold, 
lined  with  bine  leather;  the  dining-table  to  be  laid  with  a  blue  cloth  un- 
derneath, and  the  linen  itself  to  be  fringed  with  azure.  Whether  the 
service  will  be  all  gold,  or  partly  blue-and-white  china,  is  an  open  ques- 
tion. The  only  decorations  over  which  Mr.  Whistler's  will  cannot  exer- 


ADVANCED  ARTS  ABROAD. 


181 


cise  its  despotic  sway  will  be  the  costumes  of  the  men  and  women  who 
are  to  dine  in  this  room.  I  do  not  see  how  the  men,  at  least,  can  be 
worthy  of  the  occasion,  nor  even  how  the  ladies,  though  each  may  be 
perfectly  dressed  as  an  individual  at  home,  are  to  agree  to  harmonize 
their  costumes  with  the  room  and  with  each  other.  It  is  possible  enough 
that  the  discordant  hues  sure  to  come  together  will  introduce  just  the  ele- 
ment needed  to  set  off  to  its  height  the  splendor  of  the  decoration. 

"  Of  Mr.  Whistler's  success  in  his  daring  experiment  there  cannot  be  a 
question.  Its  least  merit,  I  might  almost  say,  is  its  absolute  originality. 
Anybody  can  be  original,  after  a  fashion,  but  to  be  original,  and  violate 
no  law  of  beauty  and  no  canon  of  art,  is  a  triumph  of  no  common  order. 
Every  stroke  of  the  brush  is  done  by  Mr.  Whistler's  own  hand.  lie  has 
not  been  content  to  design  and  leave  others  to  execute ;  it  is  safe  to  say 
that,  if  he  had,  the  room  would  have  been  something  very  unlike  what  it 
Here  is  to  be  seen  the  difference  between  upholsterers'  tricks  and  the 


IS. 


sincerity  of  an  artist  of  genius.  Nobody,  not  the  most  untrained  eye, 
could  mistake  the  touch  here  for  that  of  a  mere  craftsman.  Mr.  Whistler 
has  wrought  with  freedom,  and  the  impression  of  individual  power  is 
as  strong  as  the  sense  of  fresh  inspiration  and  unconventional  courage. 
There  may  be,  as  has  been  said,  something  of  Oriental  feeling  in  his 
work,  partly  because  he  has  left  out  the  human  element,  partly  because  he 
has  not  shrank  from  the  magnificence  nor  feared  to  bring  the  fierce  light 


Fig.  15.— Parlor  Sofa. 


of  the  East  into  contrast  with  London  gloom.  But,  East  or  West,  there 
is  no  room  like  it,  and  it  may  be  long  before  an  artist  of  Mr.  Whistler's 
force  can  again  be  found  to  give  up  half  a  year  of  his  life  to  reproducing 
a  scene  out  of  Fairy  land." 


182  MODERN  DWELLINGS. 

There  are  two  architects  in  London  whose  works  have  done  so  much 
toward  the  advancement  of  this  reform  that  it  would  not  seem  unfitting 
to  mention  them  here.  The  first  is  Mr.  J.  W.  Brydon,  whose  design  for 
Mr.  Henry  Taylor's  dining-room  we  have  before  described.  Mr.  Brydon, 
perhaps  more  than  any  other — with  the  exception  of  Norman  Shaw — 
has  done  much  to  advance  the  Queen  Anne  revival.  His  hall  and  stair- 
case of  Salna  House,  Rochampton,  Surrey,  previously  illustrated  (Fig.  11, 
taken  from  the  London  Building  News),  is  one  of  his  many  happy  efforts 
at  interior  wood-work.  The  staircase  and  panelling  are  of  pine,  stained  a 
rich  brown  color,  and  varnished.  The  chimney-piece  is  of  American  wal- 
nut, with  fossil  marble  jambs,  and  fender.  The  hall  floor  is  of  oak,  stained 
dark,  with  parquetry  border.  The  works  of  Mr.  E.  W.  Godwin,  F.S.A., 
though  not  in  this  school,  show  some  of  the  most  successful  attempts  at 
adapting  foreign  designs  to  English  usage,  as  Fig.  3,  which  illustrates  the 
application  of  Japanese  decoration  to  domestic  wall-paper,  will  testify. 
Mr.  Godwin  has  also  made  some  remarkable  adaptations  of  Japanese 
forms  to  English  furniture,  of  which  Fig.  12,  also  from  the  London  Build- 
ing News,  is  an  example. 


FURNITURE. 


183 


CHAPTER  VIII. 

FURNITURE. 

Durability  and  Honesty  in  Furniture. — Treatment  of  Wood. — Graining. — Painting. — 
Staining. — Oiling  and  Varnishing. — The  Arch. — Cross  Grain. — Bent  Wood. 

HERETOFORE  the  exterior  seems  to  have  exhausted  the  efforts  of 
the  architect ;  but,  with  the  advance  of  culture  and  taste,  his  prov- 
ince is  extending  itself  over  all  important  details.     In  order  that  harmony 
may  be  secured,  the  decorations,  and  even  the  furniture,  are  being  de- 
signed by  the  same  mind  as  the  building. 

We  have  already  alluded,  in  a  former  chapter,  to  the  bad  taste  fre- 
quently manifested  in  color  decoration,  and  we  now  wish  to  call  attention 


Fig.  16.— High-backed  Chair. 


Fig.  1".— Substitute  for  a  Curved  Back. 


to  some  of  the  prevailing  errors  in  furnishing.  Dickens,  in  his  descrip- 
tion of  the  Veneering  family,  stated  that  their  character  assimilated  with 
their  furniture :  "  They  smelt  too  much  of  the  workshop,  and  their  sur- 


184  MODERN  DWELLINGS. 

face  was  a  trifle  sticky."  This  might  apply  to  much  of  the  modern  fur- 
niture. It  appears  thin,  "  shammy,"  and  new,  and,  like  the  Yeneerings 
themselves,  is  adapted  to  society  of  the  mushroom  order. 

In  furniture,  the  quality  of  usefulness  stands  iirst,  and  intimately  con- 
nected with  it  is  that  of  durability.  The  carpenter  is  compelled  to  do  hon- 
est work,  to  select  the  best  and  strongest  materials ;  but  with  the  cabinet- 
maker deception  is  easy,  and  has  become  habitual.  It  is  really  as  impor- 
tant that  our  chairs  should  hold  together  as  that  our  walls  should  stand 
firm.  A  cabinet  or  a  sideboard  should  be  of  as  durable  materials  and  as 
honestly  constructed  as  a  piano,  the  only  difference  being  that  frailty  in 
the  one  case  is  ridiculously  absurd,  while  in  the  other  the  cheat  is  not  only 
practicable,  but  less  readily  detected.  There  is  no  economy  in  purchasing 
flimsy  furniture.  An  article  that  will  last  a  lifetime  costs  but  little  more 
than  one  which  soon  falls  to  pieces. 

One  branch  on  which  art  knowledge  has  a  special  bearing  is  the  treat- 
ment of  wood.  A  great  evil  is  a  want  of  honesty  in  its  rendering. 
Veneering,  graining,  and  marbleizing  are  shams  which  ought  never  to  be 
tolerated.  There  is  really  no  great  advantage  in  veneered  furniture,  as 
ordinarily  it  may  be  procured  of  solid  material  at  a  little  extra  cost.  The 
idea  of  covering  an  inferior  wood  with  one  of  more  expensive  character 
is  like  ^Esop's  fable  of  the  jackass  flaunting  a  lion's  skin. 

There  can  be  no  objection  to  furniture  simply  painted.  Flat  colors, 
if  treated  harmoniously,  may  be  made  to  produce  effects  which  cannot  be 
obtained  in  the  plain  wood.  Staining,  also,  is  an  admirable  treatment,  as 
it  brings  out  the  grain,  and,  when  relieved  by  certain  lines  of  color,  appears 
well.  The  present  method  of  oiling  and  varnishing  pine  wood  produces 
an  excellent  effect.  Of  course,  in  this  treatment  the  wood  must  not  only 
be  of  the  best  quality,  clear  and  free  from  imperfections,  but  the  work- 
manship must  also  be  of  a  superior  character;  and,  in  order  to  avoid 
shrinkage,  the  greatest  care  should  be  taken  to  have  it  well  seasoned. 
The  method  of  kiln-drying — that  is,  subjecting  the  wood  to  a  high  degree 
of  temperature  for  several  days,  in  order  to  exhaust  its  moisture — is  the 
only  reliable  means  of  accomplishing  this  end. 

Paint  and  putty,  applied  to  carpenter's  work,  have,  like  veneer,  fostered 
bad  workmanship,  as  imperfect  material  may  be  covered  up  with  paint, 
and  bad  joints  and  knotty  wood  may  be  disguised  with  putty,  so  that,  after 
the  work  is  finished,  it  is  difficult  to  detect  its  imperfections;  but,  like 
other  shams,  these  devices  are  sure  to  reveal  themselves  in  time. 

Again,  nothing  can  be  more  absurd  than  the  practice  of  imitating  in 
one  material  a  mode  of  construction  which  is  only  legitimate  in  another, 


FURNITURE. 


and  of  neglecting  to  avail  ourselves  of  the  particular  method  by  which 
the  best  results  can  be  obtained.  The  arch — a  most  ingenious  invention 
— which  affords  the  means  of  spanning  a  large  space  with  small  pieces,  at 
the  same  time  having  great  strength,  is  of  the  utmost  utility  in  building ; 
but  in  articles  of  furniture,  where  we  have  no  wide  space  to  span,  and 
where  wood  possesses  all  the  strength  required,  its  use  is  evidently  mis- 
placed. The  folly  of  this  becomes  the  more  apparent,  when  we  reflect 
that  the  wooden  arch  is  generally  composed  of  a  single  piece,  instead  of 
a  number  of  small  ones ;  and  that  in  order  to  form  it,  the  wood  must  be 
cut  across  the  grain  throughout  the 
greater  portion  of  its  length,  whereby 
its  strength  is  materially  diminished. 
This  we  deem  one  of  the  chief  objec- 
tions to  the  Gothic  treatment  of  wood- 
work. The  arch  and  trefoil  are  con- 
tinually rendered  in  this  material,  with 


the  same  confidence  as  though  it  were 
of  the  same  nature  as  stone.  We  fre- 
quently see  sweeping  wooden  arches 
span  a  Gothic  building,  giving  the 
idea  of  support ;  while,  in  reality,  be- 
ing across  the  grain,  they  can  do  no 
more  than  act  as  a  tracery  to  relieve 
an  angle  or  decorate  a  truss. 

This  mania  for  cross  grain  is  equal- 
ly reprehensible  in  furniture.  It  is 
evident  that  a  chair -leg  formed  on 
such  a  principle  must  be  weak.  Yet  exceptions  may  be  made  to  the  rule, 
as  in  Fig.  16,  where  a  slight  curving  of  the  wood  is  introduced  in  order 
to  insure  greater  ease.  Still,  there  are  means  of  accomplishing  this  end 
legitimately,  as  in  Fig.  17.  Here  the  back  is  given  an  agreeable  inclina- 
tion without  any  sacrifice  of  strength  being  entailed. 

Objections  are  sometimes  made  to  straight  work  on  account  of  its  ap- 
parent stiffness.  If  curves  are  thought  necessary,  however,  they  may  be 
effected  in  some  cases  by  bending  the  grain,  as  in  Fig.  18.  This  is  ac- 
complished by  steaming  the  wood,  which,  after  hardening,  retains  its  new 
shape.  Some  very  beautiful  curved  effects  have  been  produced  in  this 
manner  without  violating  the  nature  of  the  fibre. 


Fig.  18.— Curved-back  Chair. 


186 


MODERN  DWELLINGS. 


CHAPTER  IX. 

LEGITIMATE  WOOD -WORK. 

Gluing. — Carving  iu  Solid  Wood. — Sideboard. — Marble  Top. — Fine  China. — Painting  on 

Pottery. 

GLUE  is  responsible  for  many  offenses  against  good  taste.    Without  it, 
veneering  would  never  have  been  invented.     With  it,  the  cabinet- 

o  ' 

maker  is  enabled  to  stick  on  mouldings,  carvings,  and  raised  panels  after  a 
fashion  that  could  never  be  accomplished  by  legiti- 
mate means.  By  this  expression,  the  writer  would 
be  understood  to  mean  that  wood,  to  be  manipu- 
lated legitimately,  must  be  treated  as  it  grows ;  that 
is,  cut  in  the  solid,  and  its  nature  in  all  cases  dis- 
played. As  an  example,  I  have  shown  a  stair  new- 
el (Fig.  19),  in  which  the  panels  and  ornaments  are 
worked  out  of  the  solid  wood.  But,  it  may  be  ar- 
gued, by  this  method  the  work  has  all  to  be  done 
by  hand,  and  that,  instead  of  advancing  with  the 
progress  of  the  age,  and  taking  advantage  of  ma- 
chinery, we  are  retrograding,  and  returning  to  the 
•  primitive  system  of  handwork.  To  this  I  reply,  the 
moment  art  degenerates  into  mere  mechanism,  it  is 
lowered  in  our  estimation,  as  a  chromo  is  but  slight- 
ly valued  in  comparison  with  the  original  painting. 
Again,  under  the  machine  system,  the  ornamenta- 
tion is  apt  to  be  excessive  ;  while  work  done  by 
hand,  at  the  same  price,  is  usually  distinguished  by 
its  simple  and  graceful  effect. 

Another  article  of  furniture,  in  which  nearly 
every  principle  of  good  taste  is  violated,  is  the 
modern  sideboard.  In  Fig.  20,  I  offer  a  design,* 


i-  U» — Siulr  Newel 


"  This  sideboard  was  constructed  for  Mr.  Lawrence  Wa- 
terbnry.      Under  the  cove,  which  is  covered  with  stamped 


LEGITIMATE   WOOD-WORK. 


187 


showing  how  this  useful  piece  of  furniture  may  be  constructed  on  legiti- 
mate principles.  Usually,  scroll-shaping,  machine-carving,  and  glued  pan- 
els run  riot,  the  cracks,  fissures,  screw-heads,  and  all  other  imperfections 
being  filled  up  with  putty,  and  the 
whole  smeared  over  with  shellac  or 
polish,  ostensibly  to  give  it  bright- 
ness, but  in  reality  to  conceal  its 
flaws.  A  system  by  which  defective 
wood  and  worse  workmanship  may 
be  hidden  with  a  coat  of  varnisli  cer- 
tainly has  the  advantage  of  cheap- 
ness ;  but,  like  the  man  whose  re- 
spectability is  all  on  the  surface,  it  is 
a  question  how  long  the  deceit  will 
escape  discovery.  In  the  present 
design  the  carvings  and  mouldings 
are  not  only  worked  out  in  the  solid 
wood,  but  the  absence  of  screws, 
nails,  and  glue  is  apparent ;  stout 
wooden  pins  and  tennon-joints,  such 
as  were  used  in  mediaeval  framing, 
being  substituted.  Figt  2o.-sideboard. 

We  must  certainly  condemn  one 

appendage,  usually  considered  indispensable,  to  this  piece  of  furniture — 
the  marble  top.  A  sideboard  is  intended  for  the  deposit  of  glass  and 
delicate  china.  Nowr,  the  idea  of  having  frail  wares  banged  down  on 
an  unyielding  piece  of  adamant  is  something  revolting  in  these  days  of 
interest  in  ceramic  art.  Marble  tops  were  originally  intended  to  protect 
the  wood-work  from  dampness  caused  by  the  water  dripping  from  an  ice- 
pitcher.  This  might  spot  varnish  and  blister  veneers ;  but  with  solid 
wood  no  such  precaution  is  necessary.  As  a  substitute  for  the  marble 
top,  let  soft  mats  be  used.  These  act  as  a  cushion  for  fragile  orna- 
ments. 

The  custom  of  displaying  specimens  of  fine  china-ware  in  our  rooms  as 
works  of  art  suggests  the  propriety  of  providing  shelves  on  the  principle 
of  an  etagere  over  the  sideboard  and  mantel-piece.  These  may  be  cov- 


leather,  a  shelf  is  arranged  for  ornamental  pottery.  The  doors  below  are  glazed  with 
bevelled  glass,  and  the  cupboard  encloses  a  fire-proof  safe  for  keeping  silver,  the  depth 
of  which  is  increased  by  the  sideboard  being  built  a  number  of  inches  into  the  wall. 


1S8  MODERN  DWELLINGS. 

ered  and  backed  with  leather,  which,  if  of  a  color  complementary  to  the 
china,  forms  an  agreeable  background.  Stamped  leather  of  ornamental 
designs  may  be  easily  procured,  and  if  the  spaces  underneath  the  shelves 
are  treated  on  a  cove  plan,  resembling  that  of  a  canopy,  they  present  a 
very  attractive  appetirance. 

This  method  of  decoration  is  likely  to  become  popular  from  the  fact 
that  painting  on  pottery  is  now  a  fashionable  pastime.  The  ornaments 
may  possess  an  additional  interest  from  being  specimens  of  the  owner's 
handiwork. 


FIREPLACES. 


189 


CHAPTER   X. 

FIREPLACES. 

Mantels. — Marble  Mautel. — Wooden  Mantel. — Open  Fireplaces. — The  Crane. — Hearths. — 
Tile. — Tile  in  Furniture. — Screens. 

MANTELS  of  wood  are,  as  a  general  thing,  more  artistic  and  attrac- 
tive than  those  of  marble.     Indeed,  the  specimens  of  the  latter 
found  in  our  modern  dwellings  frequently  exhibit  such  poverty  of  design 
as  to  be  positively  ugly.     There  can  be  but  one  objection  urged  against 


Fi<?.  21.— Marble  Mautel. 


wood,  and  that  is  its  liability  to  catch  fire.  This  difficulty  is,  however, 
easily  overcome  by  placing  a  border  of  stone  or  tile  between  the  grate 
and  the  wood-work,  to  serve  as  a  protection  to  the  inflammable  material  of 
which  the  mantel  is  constructed.  Yet,  as  it  will  probably  be  some  time 


190 


MODERN  DWELLINGS. 


before  wooden  mantels  are  by  any  means  universally  popular,  examples 
of  both  kinds  are  given  in  the  accompanying  illustrations. 

In  Fig.  21, 1  have  shown  a  design  for  a  marble  mantel  somewhat  elab- 
orate in  character,  the  style  being  that  common  in  the  last  century. 
Fig.  22  shows  a  wooden  mantel  of  the  same  period,  over  which  shelves 
are  arranged  for  ornaments.  Naturally,  much  of  the  effect  depends  upon 


Fig.  22.— Wood  MuiiteL 


what  these  may  be.  In  the  case  of  wooden  mantels,  French  clocks  and 
ordinary  vases  should  be  avoided.  Brass-work  and  pottery  are  much  more 
suitable.  If,  however,  a  timepiece  be  desired,  there  are  the  "cathedral 
clocks,"  so  called  from  the  resemblance  which  their  striking  tones  bear  to 
the  sound  of  a  distant  bell.  They  are  enclosed  in  a  case  of  bevelled  glass, 
through  whiuh  the  works  are  distinctly  visible. 

In  the  mantel  shown  in  our  picture  there  is  a  border  of  stone  around 


FIREPLACES.  191 

the  fireplace,  which  projects  beyond  the  wood-work,  and  shields  it  from 
any  mischief  likely  to  be  wrought  by  the  heat.  This  border  is  also  con- 
tinned  as  a  coping  around  the  hearth,  and  serves  the  purpose  of  a  fender. 
In  this  way  are  defeated  the  nefarious  designs  of  the  carpet-man,  who  de- 
lights in  rendering  an  open  fire  impossible,  if  by  so  doing  he  may  display 
an  extra  yard  of  Axminster  or  Brussels. 

To  speak  of  our  firesides  seems  absurd  in  these  days  of  furnaces.  If 
we  have  a  fireplace  at  all,  it  seldom  has  a  fire  in  it,  and  is  frequently  put 
up  as  an  unmeaning  ornament,  without  even  possessing  a  flue.  It  is  to  be 
hoped,  however,  that  the  furnace  may  soon  be  a  thing  of  the  past,  and  the 
cheerful  and  cheering  fire  may  again  illumine  the  hearth  around  which, 
literally,  we  may  form  our  social  circle.  We  can  hardly  expect,  in  these 
days  of  anthracite,  to  revive  the  delightful  old  custom  of  wood  fires ;  still, 
fire-dogs  need  not  be  discarded.  An  ingenious  contrivance  in  the  way  of 
a  grate  for  burning  soft  coal  is  now  in  vogue.  It  resembles  a  basket, 
which  is  set  on  andirons  in  the  same  manner  that  we  would  adjust  a  Back- 
log, and  may  be  lifted  off  any  time  that  a  wood  fire  is  preferred. 

The  ancient  crane  has  also  its  tender  associations.  I  remember  seeing 
a  very  picturesque  arrangement  in  the  studio  of  one  of  our  New  York 
artists.  It  consisted  of  a  genial  mass  of  blazing  coals,  confined  in  a  three- 
cornered  basket,  and  swinging  merrily  from  a  crane  suspended  above  the 
hearth. 

These  fireplaces  were  very  common  about  the  time  of  the  Revolution, 
and  may  yet  be  found  in  some  of  the  old  colonial  houses.  At  this  time 
of  Centennial  reminiscences,  it  would  seem  fitting  to  revive  the  fashions 
of  "those  good  old  colony  days,"  and  let  the  rising  generation  see  the 
wainscoted  chamber  of  the.  ancient  manor-house,  with  oaken  floors  and  the 
traditional  old  chimney-piece,  with  its  quaint,  pictorial  tiles  around  the 
border.  Interiors  such  as  these  have  been  the  theme  of  many  artists  of 
the  present  century,  prominent  among  whom  is  Mr.  E.  Wood  Perry,  whose 
pictures  are  mostly  drawn  from  the  real.  One  of  these,  entitled  "  Fireside 
Stories"  (Fig.  23),  we  have  taken  the  liberty  of  engraving. 

It  has  been  suggested  elsewhere  in  this  volume  that  in  library  or  sit- 
ting rooms  the  mantel  should  be  placed  opposite  the  windows,  so  that, 
when  facing  the  fire,  the  readers  back  may  be  toward  the  light.  But  in 
a  dining-room  it  is  better  to  place  the  mantel  at  the  end;  for,  unless  this 
apartment  is  unusually  wide,  there  will  not  be  sufficient  space  between  the 
table  and  the  fire,  either  for  the  comfort  of  those  seated  on  that  side  or 
for  the  convenience  of  the  waiter. 

Hearths  should  be  a  subject  of  serious  consideration.     The  ordinary 


192 


MODERN  DWELLINGS. 


marble  hearths,  an  inch  and  a  quarter  thick,  which  have  hitherto  been 
attached  to  our  mantels,  are  utterly  inadequate  to  resist  the  heat  of  a  wood 


Fireside  Stories." 


or  even  a  grate  fire.  For  this  reason,  it  has  been  found  necessary  to  con- 
struct a  fender  combined  with  a  metal  hearth,  in  order  to  screen  the  real 
one  from  the  heat  which  it  is  itself  unable  to  bear.  These  false  contriv- 
ances seem,  in  our  day,  too  trivial  to  be  tolerated  ;  for,  if  we  have  a  hearth, 
why  not  let  it  be  of  a  material  which  would  actually  stand  the  fire,  and 
dispense  altogether  with  these  metal  makeshifts  which  have  so  long  dis- 


FIREPLACES. 


193 


graced  our  firesides  ?  Tile,  like  terra-cotta,  from  the  fact  of  its  having 
been  exposed  to  a  high  degree  of  heat  in  its  manufacture,  is  capable,  above 
any  other  material,  of  resisting  the  influence  of  fire,  and  the  glaze  upon 
its  surface  is  of  such  a  nature  that  it  may  undergo,  for  years,  the  rough- 
est treatment  without  showing  the  slightest  scratch.  Tile  is  really  not 
much  more  expensive  than  marble  or  slate,  and  it  is  both  durable  and 
easily  cleaned.  Not  only  is  it  an  improvement  over  white  marble  as 
regards  utility,  but  affords  a  relief  in  color,  and  enhances  the  beauty  of 
our  rooms.  In  this  way  tile  may  be  made  to  play  its  legitimate  part 
in  household  decoration.  .  But  to  attempt  to  use  such  a  material  in  fur- 
niture or  elsewhere  seems  singularly  inappropriate.  Tile  is  especially 
adapted  for  the  lining  of  bath-tubs,  or  for  a  wainscoting  back  of  a  wash- 
stand,  or  in  any  position  where  hardness  is  required,  as  in  a  floor ;  but  to 
make  the  top  of  a  table  of  tile,  as  if  it  were  a 
rostrum  to  stand  upon,  rather  than  a  place  upon 
which  to  put  delicate  china  or  glass,  is  one  of 
those  follies  that  we  can  only  excuse  on  the 
plea  of  ignorance. 

The  introduction  of  tile  into  wood  panels  is 
another  instance  of  the  absurdities  into  which 
some  manufacturers  have  fallen  while  displaying 
their  zeal  in  promoting  the  revival  of  ancient 
fashions. 

Screens  can  often  be  employed  with  great 
advantage,  as  well  as  effect,  in  a  dining-room, 
where  that  apartment  is  of  sufficient  size.    I  give 
an  illustration  of  one  (Fig.  21),  in  which  the  panels  are  filled  up  with  em- 
broidery, consisting  of  flowers  and  birds. 

Fig.  2-t,  from  the  catalogue  of  Messrs.  Cox  &  Sons,  represents  on  a 
larger  scale  a  panel  ornamented  with  a  Japanese  design. 

13 


24.— Screen  Pauel. 


194 


MODERN  DWELLINGS. 


CHAPTER  XL 

COLONIAL  FASHIONS. 

Fashion  in  Furniture. — Diuiug-room. — High-back  Chair. — Diuing-table. — Dining-rooms 
treated  in  Dark  Colors. — Table-cloth. 

HERETOFORE  it  has  been  the  custom  to  buy  new  furniture  in  ac- 
cordance with  the  latest  caprice  of  fashion,  just  as  a  lady  selects  a 
new  bonnet.  But  now  the  revival  of  styles  prevalent  in  the  days  of  our 
ancestors  may  induce  some  of  the  present  members  of  old  Puritan  and 
Knickerbocker  families  to  bring  down  from  the  garret  long-discarded  and 
forgotten  heirlooms.  At  the  Lady  Washington  tea-parties  given  in  fash- 
ionable society,  our  belles  delight  to  appear  in  the  dresses  and  jewels 
worn  by  their  grandmothers  at  the  receptions  of  Washington  and  Lafay- 
ette. Certainly  the  honor  which  is  done  these  ancient  costumes  might 
be  appropriately  extended  to  such  articles  of  furniture  as  remain  to  us 


Fig.  26.— Some  Examples  of  Modern  Upholstery. 


from  the  same  age.  Many  of  them,  if  placed  in  a  modern  drawing-room, 
would  put  to  shame  the  meretricious  upholstery  which  a  perverted  taste 
has  made  fashionable.  As  examples  of  the  latter,  let  us  take  the  sofa  and 
chair  shown  in  Fig.  25,  which  are  fair  types  of  modern  extravagance. 
Clearly,  they  are  constructed  in  violation  of  all  correct  principles,  and  of- 


COLONIAL  FASHIONS. 


195 


Fig.  26.— A  Chair  of  the  New  School. 


fend  against  good  taste.     Not  only  do  they  have  the  appearance  of  weak 
ness,  but  they  are  in  reality  unfit  to  stand  ordinary  usage  for  any  length 
of  time.     Figs.  26  and  27,  specimens 
of  the  reformed  school,  are  offered 
in  contrast. 

All  flimsy,  magnificent  attempts 
at  furniture,  too  delicate  for  use,  too 
uncomfortable  for  repose,  foster  the 
idea  of  shutting  up  our  drawing- 
rooms  except  on  state  occasions, 
when  the  conventionalities  of  socie- 
ty are  carried  out  in  a  formal  and 
ceremonious  manner.  When  the 
entertainment  is  over,  much  to  the 
relief  of  both  host  and  guests,  the 
grand  room  is  again,  closed,  and  the 
family  seek  more  home -like  apart- 
ments in  a  less  pretentious  portion 
of  the  house,  where,  perhaps,  some  of  the  ancestral  mahogany  is  still  in  use. 

In  some  sections  of  the  country  where  certain  peculiarities  of  style, 
prevalent  for  many  years,  appear  to  have  stamped  their  impress  upon  the 
buildings,  it  seems  ridiculous  to  introduce  anything  entirely  new  and  for- 
eign. For  example,  in  Rhode  Island,  Pennsylvania, New  Jersey,  and  other 
States,  there  are  certain  distinctively  local  modes  of  building.  If  these 
can  be  accepted  by  the  architect,  they  may  be  frequently  rendered  in  a 
very  satisfactory  manner,  and,  when  the  work  is  completed,  it  will  appear 
in  harmony  with  its  surroundings.  In  accordance  with  this  idea,  I  give,  in 
Fig.  28,  a  view  of  a  dining-room  which  formed  part  of  a  design  prepared 
for  the  residence  of  Mr.  Lawrence  Waterbury,  of  Westchester.  The  style 
is  that  of  the  last  century,  and  is  characteristic  of  some  of  the  old  mansions 
that  were  built  prior  to  the  Revolution.  Stained  glass  is  employed  in 
the  upper  sash  of  the  windows,  and  the  walls  and  ceilings  are  treated  in 
harmonious  colors.  The  floor  is  of  inlaid  woods,  relieved  by  rugs  of 
Oriental  pattern.  The  dado  is  of  India  matting,  which  gives  a  certain 
warmth  and  softness  to  the  room,  and  produces  all  the  effect  of  porcelain, 
without  having  the  appearance  of  rigidity  which  characterizes  tile.  The 
sideboard  and  fireplace,  more  fully  illustrated  in  Figs.  20  and  22,  accord 
with  the  rest  of  the  fittings,  and  are  types  of  the  Jacobean  period. 

We  know  that  the  high-backed  chair  has  been  frequently  condemned 
on  the  ground  that  it  is  old-fashioned  and  barbarous.  That  it  is  old-fash- 


196 


MODERN  DWELLINGS. 


ioned,  and  contrary  to  recent  ideas,  is  a  fact  too  patent  to  be  contradicted ; 
but  that  it  is  barbarous  and  unfit  for  modern  use  I  must  dispute.  There 
is  something  solid  and  comfortable  in  these  high  backs,  as  if  they  were 


Fig.  27.— Specimens  of  the  Reformed  School. 

meant  to  be  leaned  upon.  The  design  shown  in  Fig.  16  is  a  good  one 
for  chairs  of  this  description.  It  is  the  same  as  that  already  given  in  the 
dining-room  interior. 

It  is  frequently  remarked  that  new  houses  have  a  stiff,  uncomfortable 
look,  and  that  people  moving  into  them  are  continually  conscious  of  their 
newness  and  want  of  home-like  feeling.  The  practice,  however,  of  reviv- 
ing old  fashions  does  away  with  much  of  this.  I  recently  built  a  house 
modelled  upon  ancient  styles,  and  the  lady  who  was  its  occupant  told  me 
that  she  was  particularly  struck  with  its  home-like  effect ;  that  the  old- 
fashioned  fireplace  and  general  finishing  and  furnishing  were  such  as  to 
immediately  produce  a  sense  of  "  at-horneness ;"  and,  far  from  realizing 
that  she  had  come  into  a  newly  completed  dwelling,  she  felt  as  if  she  had 
lived  there  for  years.  A  greater  compliment  to  the  Colonial  style,  as 
adapted  to  modern  domestic  purposes,  could  not  have  been  given. 

There  is  no  necessity  that  the  dining-table  should  be  of  a  very  elabo- 
rate design,  as  it  is  generally  hidden  by  a  cover;  but  its  construction  is  a 
matter  of  much  importance.  A  table  standing  on  four  legs  is  to  be  rec- 
ommended in  preference  to  those  of  the  "  pedestal "  style,  having  but  one 
support  in  the  centre.  This  not  only  suggests  a  sense  of  insecurity,  but 
is  JESthetically  wrong;  for  this  pedestal,  if  used  in  the  ordinary  extension- 
table,  must,  whenever  the  table  is  drawn  out,  be  cut  in  two,  showing  two 
incomplete  standards.  Now,  this  is  only  endured  from  the  fact  that  cus- 
tom sanctions  it ;  but  regarding  it  from  an  artistic  point  of  view,  it  is  as 
bad  as  if  a  piano-leg  were  divided  in  the  centre.  If,  therefore,  we  are 


COLONIAL  FASHIONS. 


197 


compelled  to  have  these  telescopic  tables,  let  them,  by  all  means,  have 
four  legs,  in  which  case  the  evil  is  modified  to  some  extent. 

Eastlake,  with  justice,  condemns  these  "  rattletraps  "  altogether  as  un- 
constructional,  and  recommends  the  old  system  of  placing  two  tables  fitted 
with  flap-leaves  end  to  end,  when  dinner-parties  are  given.  Square  tables 
he  considers  preferable  to  round,  as  from  them  the  cloth  hangs  in  more 
graceful  folds,  and  the  corners  are  valuable  in  the  way  of  affording  extra 
room. 

Dining-rooms,  as  a  general  thing,  should  be  treated  in  dark  colors,  so 
that  their  walls  may  form  an  agreeable  background  for  the  table-cloth  and 


Fig.  28.— Uiuiug-room  luteriur. 

fixtures.  A  white  table-cloth  is  generally  too  glaring  in  its  effect,  and  out 
of  keeping  with  the  surroundings.  For  general  purposes,  one  of  a  cream 
tint  is  preferable. 

Figs.  13,  14,  and  15  represent  furniture  designed  for  Mr.  G.  E.  Ilam- 
lin's  house.     See  Design  15. 


f98 


MODERN  DWELLINGS. 


CHAPTER  XII. 

BOOKCASES  AND  PIANOS. 
Light  in  Library. — Bay-windows. — Hooded  Cbimney-piece. — Music-stool. — Music-stand. 

ONE  of  the  most  conspicuous  articles  of  furniture  in  a  house  is  the 
bookcase,  and  there  are  several  requirements  connected  with  it  that 
are  frequently  lost  sight  of.     The  old  bookcases,  running  eight  feet  high, 
the  upper  shelves  of  which  could  not  be  reached  without  a  step-ladder, 


Fig.  29.— Neo-Jacobeau  Bookcase. 

have  mostly  gone  out  of  date,  and  others  of  a  more  convenient  height 
are  substituted.  It  is  obvious  that  this  change,  at  least,  is  favorable,  for 
we  are  enabled  to  use  the  top  for  bronzes  and  other  ornaments,  while  the 
wall  space  above  is  left  free  for  pictures.  Some  even  go  so  far  as  to  keep 


BOOKCASES  AND  PIANOS. 


the  top  of  uniform  height  with  the  mantel.  There  is  a  certain  advantage 
in  this,  as  it  seems  to  carry  out  the  wainscoting,  and,  indeed,  may  be  made 
a  part  of  it.  One  objection,  however,  is  that  such  an  alignment  seems  to 


Fig.  30.— The  Library. 

give  an  appearance  of  stiffness  to  the  room.  If  glass  doors  are  used,  the 
squares  should  be  small ;  when  made  of  thick  glass,  they  are  greatly  im- 
proved by  bevelling.  Much  expense  may  be  spared,  however,  and  an 
agreeable  effect  produced,  by  curtains.  In  fact,  a  compromise  might  be 
made  between  curtains  and  glass,  as  shown  by  our  illustration.  By  this 
plan  the  more  valuable  books  may  be  locked  up,  while  the  plainer  kind  or 
works  of  reference  are  protected  by  the  drapery. 

I  have  stated  that  the  windows  in  the  library  should  be  generally  op- 
posite the  fireplace,  so  that  the  light  may  be  at  the  back  of  the  occupant 
when  sitting  before  the  fire.  In  the  illustration  (Fig.  30),  however,  there 
is  a  slight  deviation  from  this  rule.  A  small  bay-window,  containing  a 
plant  cabinet,  is  arranged  at  the  left ;  but  the  glass,  being  in  the  depth  of 
the  recess,  is  partially  screened  from  the  reader  by  the  projecting  chimney. 


200 


MODERN  DWELLINGS. 


Should  a  greater  degree  of  shade  be  required,  a  sliding  curtain  beneath 
the  transom  will  prove  effectual. 


Fig.  31.— Upright  Piauo. 


These  bay-windows  often  have  a  most  pleasing  effect,  making  a  cosy 
corner  for  plants  and  birds.  In  this  instance  there  is  a  decorated  panel 
introduced  in  the  wainscot,  and  the  upper  part  of  the  sash  is  illuminated 
with  stained  glass. 

The  hooded  chimney-piece,  constructed  entirely  of  light  freestone,  ant) 


Fig.  32.— English  Design  of  Graud  Pinuo. 


BOOKCASES  AND  PIANOS. 


201 


terminating  with  a  carved  bracket,  on  which  may  be  displayed  specimens 
of  pottery,  is  a  conspicuous  object  in  the  room. 

The  bookcase  is  somewhat  similar  in  character  to  that  shown  in  Fig. 
29.  It  has  no  doors ;  but  a  simple  border  of  leather,  attached  to  each  shelf 
by  means  of  silver  nails,  serves  to  protect  the  books  from  dust. 

Perhaps  the  piece  of  furniture  which  has  undergone  the  least  reform 
is  the  piano.  Not  only  is  there  great  barrenness  of  design  apparent,  but 
it  would  seem  as  if  manufacturers 
had  despaired  of  being  able  to  work 
any  change.  All  continue  in  the 
same  groove,  the  few  attempts  at 
improvement  being  so  insignificant 
as  to  make  little  or  no  impression. 
Whether  square  or  upright,  grand 
or  concert,  all  pianos,  both  in  this 
country  and  Europe,  look  as  if  man- 
ufactured on  the  same  plan. 

Fig.  31  is  a  design  for  an  up- 
right piano  similar  to  one  prepared 
for  Mr.  G.  E.  Hamlin,  intended  to  be  inlaid  with  woods  of  different  col- 
ors, the  motive  of  which  was  taken  from  a  design  of  Mr.  J.  Moyr  Smith. 

Fig.  32  shows  an  English  design  of  a  grand  piano,  which,  I  think,  ex- 
hibits some  very  beautiful  detail.  There  is,  however,  an  objection  to  the 
stool,  on  account  of  the  legs  being  curved  across  the  grain,  and,  conse- 
quently, weak.  The  music-stand  also  seems  to  be  equally  objectionable, 
as  it  is  not  in  any  way  adapted  to  the  accommodation  of  large  books. 

Fig.  33  shows  two  articles  of  this  kind,  which  are,  I  think,  an  improve- 
ment. In  the  first  the  books  can  be  more  easily  adjusted,  and  can  also 
be  protected  by  lock  and  key.  The  music-stool,  which  is  sufficiently  long 
for  a  duet,  can  be  easily  raised  or  lowered  by  means  of  a  ratchet. 


Fig.  33.— Music-stand. 


202 


MODERN  DWELLINGS. 


CHAPTER  XIII. 

PLANTS. 

Flower  Decoration.  —  Swiss  Scene.  —  Miniature  Conservatory.  —  Buckingham  Hotel. — 
Pottery  and  Wooden  Chests  in  Fireplaces. 

THERE  is  one  very  simple  and  economical  method  of  decorating  a 
room,  and  that  is  by  the  introduction  of  plants  and  vines.  By  this, 
I  do  not  mean  that  it  is  necessary  to  have  an  elaborate  conservatory,  or 
even  a  collection  of  plants  in  a  bay-window ;  but  in  certain  nooks,  which 
seem  difficult  to  furnish,  a  healthy  plant  has  often  a  finer  effect  than 
showy  furniture  or  costly  hangings.  The  rude  flower -stands  formerly 
used  are  now  superseded  by  artistic  ones  of  wood  or  metal,  the  sides  of 
which  are  filled  in  with  illuminated  tile.  Fig.  34  illustrates  a  flower- 
stand  similar  to  that  shown  in  the  sketch  of  the  library  (Fig.  30),  but  hav- 
ing a  small  aquarium  in  the  centre,  which,  being  portable,  can  be  removed 

at  pleasure,  leaving  the  entire  stand 
free  for  plants.  The  top  is  lined 
with  zinc,  in  order  to  prevent  the 
water  dripping  through,  and  is  ca- 
pable of  holding  a  large  number  of 
pots.  These  are  often  ornamental 
in  themselves,  being  frequently  of 
faience  or  majolica,  and  may  be  ei- 
ther grouped  or  placed  in  single 
stands. 

Fig.  35  illustrates  a  single  vase 
and  stand,  which  is  the  same  as  that 
shown  in.  the  dining-room  interior 
(Fig.  36). 

Another  inexpensive  method  of 
decoration  is  the  introduction  of 

Fig.  34 Flower-staiid. 

flowers,  according  to  a  system  quite 

common  in  England,  but  only  recently  introduced  here.     It  consists  of  an 
arrangement  of  plants  in  the  fireplaces  in  summer.     Of  course,  in  a  posi- 


PLANTS. 


203 


tion  like  this,  where  the  sun  cannot  reach  them,  there  are  only  certain 
plants  which  would  thrive,  as,  for  instance,  the  English  ivy,  or  some  va-u 
rieties  of  fern.  If  cut  flowers,  which  can  be  changed  as  they  fade,  are 
added,  the  effect  will  be  as  bright  and 
cheerful  as  that  of  a  wood  or  sea -coal 
fire  in  winter.  This  also  does  away  with 
the  fireboard,  or  that  American  inven- 
tion, the  summer-piece,  which  is  in  keep- 
ini;-  with  so  many  of  the  shams  to  which 
custom  has  given  sanction.  There  is 
nothing  to  be  ashamed  of  in  an  open 
fireplace  even  in  summer-time,  especial- 
ly if  the  sides  and  back  are  made  orna- 
mental. In  laying  out  grounds,  it  is  a 
common  expedient  to  plant  trees  thick- 
ly between  the  house  and  any  eyesore 
in  the  landscape,  and  this  principle  can 
be  as  readily  carried  out  in  our  houses. 
Even  if  the  fireplace  is  besmeared  with 
smoke,  the  introduction  of  plants  is  a 
very  legitimate  method  of  hiding  the 
blemish.  This  system  may  also  be  called 
into  service  in  case  the  windows  of  our  living-rooms  overlook  some  do- 
mestic portion  of  the  grounds,  such  as  a  kitchen  garden  or  a  farm  stable. 
In  fact,  I  have  seen  a  window  looking  simply  into  a  vacant  court  made  to 
serve  as  a  frame  to  a  miniature  Swiss  landscape,  by  the  introduction  of 
rock-work  and  a  few  ferns,  which,  being  reflected  in  a  diminishing  mirror, 
had  precisely  the  appearance  of  distant  mountains  and  trees. 

Speaking  of  flowers  and  vines  in  the  fireplace  reminds  me  that  here  is 
an  excellent  place  for  pottery ;  for,  while  being  a  picturesque  nook,  it  also 
is  a  safe  deposit  for  treasures  of  this  kind.  A  high  Japanese  jar  in  the 
centre,  and  a  pair  of  smaller  ones  at  the  sides,  will  have  a  pleasing  appear- 
ance. I  have  also  seen  antique  wooden  chests,  with  ornamental  strap- 
hinges  and  curious  locks,  in  fireplaces.  They  not  only  relieve  the  barren- 
ness, but,  if  in  a  bedroom,  serve  as  most  convenient  receptacles  for  small 
articles.  In  a  dining-room  they  may  be  used  as  a  liqueur-case,  or  made 
to  perform  some  other  useful  service. 

Many  people  seem  to  think  that  it  is  impossible  to  have  plants  with- 
out going  into  an  elaborate  system  of  greenhouses  or  conservatories,  with 
water-pipes,  furnaces,  and  a  professional  gardener  at  the  head.  There  are 


Fig.  35.— Flower-vase. 


204 


MODERN  DWELLINGS. 


other  means,  however,  by  which  they  may  be  cultivated  on  a  modest 
scale  without  expense  and  with  but  little  trouble.  A  miniature  conserva- 
tory may  be  arranged  by  means  of  a  simple  glazed  frame,  shaped  some- 
what like  a  bay-window. 
This,  being  made  the  size 
of  the  window,  is  screwed 
on  to  the  outer  side,  tak- 
ing the  place  of  the  blinds, 
which  are  not  required  in 
the  winter  season.  By 
opening  the  sash  top  and 
bottom,  the  warm  air  of 
the  apartment  circulates 
among  the  plants,  which 
shut  out  the  dreary  land- 
scape and  give  a  fresh, 
summer  -  like  appearance 
to  the  room.  I  have,  in 
the  middle  of  January,  en- 
tered a  room  furnished  in 
this  manner,  and  the  effect 
of  the  green  foliage  with 
the  window  -  sashes  open 
was  such  as  to  drive  away 
all  thoughts  of  the  winter 
outside. 

I  was  much  impressed 
by  an  arrangement  at  the 
Buckingham  Hotel,  New  York,  where  plants  were  made  a  prominent  feat- 
ure. The  lofty  ceilings  gave  ample  scope  for  huge  palms  and  orange- 
trees  ;  and,  as  the  visitor  entered  the  spacious  hall-way,  the  effect  of  these, 
with  the  singing  of  birds  and  the  plash  of  a  fountain,  was  such  as  to  make 
him  fancy  himself  in  a  tropical  garden.  There  was  also  a  corridor  of 
plate-glass  connecting  two  wings  of  the  building,  where  tile  boxes  filled 
with  brilliant  foliage  were  arranged  along  the  sides.  These  afforded  an 
agreeable  surprise,  being  unusual  in  our  city  hotels. 


36. — Glimpse  of  the  Dming-rooni. 


BEDROOM  FURNITURE.  205 


CHAPTER  XIV. 

BEDROOM   FURNITURE. 
Fashionable  Furniture. — Architect  designing  Furniture. 

IN  the  illustration  (Fig.  46)  we  have  several  articles  of  bedroom  furni- 
ture, modelled  after  the  style  of  the  seventeenth  century,  which  rec- 
ommends itself  by  its  characteristic  simplicity  and  honesty  of  treatment. 
The  bed  has  a  canopy  framework,  from  which  curtains  are  suspended,  the 
cove  being  covered  with  stamped  leather.  The  decoration  in  the  panels 
may  be  inlaid,  or  painted  simply  in  stencil  pattern. 

Fig.  47  shows  a  dressing-table  of  the  same  period,  which,  in  some  re- 
spects, answers  the  purpose  of  a  bureau,  being  liberally  supplied  with 
drawers.  There  is,  also,  a  corner  cabinet,  intended  for  a  jewel-case,  back 
of  which  a  small  burglar  and  fire-proof  box  may  be  inserted  in  the  brick- 
work, and  entirely  masked  by  an  inner  door.  Medicine-cases  are  often 
constructed  in  this  manner. 

Figs.  48  and  49  are  a  wash-stand  and  commode  of  the  same  school. 
Fig.  37  is  a  hanging  cabinet,  similar  to  the  one  in  the  library  (Fig.  30). 

One  great  difficulty  in  the  way  of  introducing  furniture  of  this  de- 
scription is,  that  people  do  not  know  where  to  find  it.  They  usually  go 
to  a  fashionable  dealer,  and  are  compelled  to  choose  from  what  they  see 
before  them.  It  is  true  that  several  of  our  manufacturers  have  attempted 
to  offer  something  better  in  the  way  of  design,  and  with  considerable 
success  and  profit.  But  their  great  mistake  has  been  that,  knowing  they 
had  the  monopoly,  they  made  their  prices  so  high  that  few  could  afford 
to  deal  with  them,  thus  confining  the  possibility  of  exercising  good  taste 
to  wealthy  persons  alone.  There  is  really  no  reason  why  this  furniture 
should  be  more  expensive  than  any  other.  That  fashionable  upholsterers 
should  subordinate  art  to  sordid  and  mercenary  considerations  indicates  a 
short-sighted  policy ;  for  the  wider  the  diffusion  of  art  culture  among  the 
people,  the  greater  will  be  the  demand  for  furniture  of  artistic  design. 
If  one  of  their  patrons  desires  anything  new,  they  will  usually  prepare  a 
design,  and  with  it  submit  a  price ;  but  should  he  ask  to  retain  the  draw- 


206 


MODEKN  DWELLINGS. 


ing  in  order  to  get  further  estimates,  the  privilege  is  promptly  refused, 
and  the  statement  usually  vouchsafed  that  they  are  not  in  the  habit  of 

allowing  other  manufacturers  to  prof- 
it by  their  brains.  One  is,  therefore, 
compelled  to  take  an  inferior  design 
from  another  establishment,  or  pay 
the  price  of  the  original  estimate,  ex- 
orbitant as  it  may  be.  There  is  a 
simple  remedy  for  all  this  which,  as  I 
have  mentioned  before,  is  coming  into 
practice. 

After  the  house  is  completed,  in- 
stead of  abandoning  the  architect,  and 
submitting  to  the  tender  mercies  of 
an  upholsterer,  let  him  who  has  thus 
far  given  satisfaction,  prepare  designs 
for  the  furniture  also.  He  will  be 
able,  not  only  to  give  drawings  upon 
Fig.  sr.-Hangiiig  cabinet  which  several  estimates  may  be  ob- 

tained, and  the  advantage  of  competition  thereby  gained ;  but  if  he  be 
possessed  of  ability,  he  will  so  arrange  that  every  article  shall  be  in  har- 
mony with  the  rest  of  the  building. 


METALS.  207 


CHAPTER  XY. 

METALS. 

Locks.  —  Bolts.  —  Handles. — Hinges.  —  Imitation  in  Metals.  —  Sconce.  —  Mirror.  —  Chan- 
delier. 

METAL,  if  artistically  wrought,  may  contribute  largely  to  the  adorn- 
ment of  our  dwellings.  It  is  important  that  all  designs  should  be 
consistent  with  the  material  in  which  they  are  to  be  executed.  Models 
are  not  infrequently  prepared  for  cast  iron  which  can  only  be  properly 
executed  in  wrought,  from  the  fact  that  they  possess  certain  distinctive 
features  which  fitly  belong  to  the  latter.  This  comes  of  the  spirit  of  imi- 
tation, which  is  the  most  subtle  enemy  of  true  art,  and  which  must  be 
eradicated  before  the  first  steps  toward  true  reform  can  be  taken.  It  is  the 
height  of  folly  to  keep  on  casting  and  recasting  the  wretched  forms,  un- 
worthy the  name  of  designs,  which,  unfortunately,  crowd  our  foundries, 
and  then,  perhaps,  add  insult  to  injury,  by  painting  and  sanding  these  hor- 
rors so  as  to  imitate  stone.  We  will  not  here  speak  of  iron  for  external 
use ;  but  metal-work  for  interiors  is  greatly  in  need  of  reform.  Hitherto 
it  seems  to  have  been  hidden  as  much  as  possible,  perhaps  on  account  of 
the  realization  of  its-  ugliness.  Locks,  for  instance,  instead  of  being  in 
sight,  are  buried  within  the  wood-work,  which  is  cut  away  for  their  accom- 
modation, so  as  to  materially  lessen  its  strength. 

Now,  the  ancient  idea  of  a  lock  was  to  display  it,  and,  therefore,  they 
were  made  artistically  ornamental,  as  shown  in  Fig.  38.  Here,  the  metal 
face  not  only  appears,  but  is  elongated,  in  order  to  serve  the  additional 
purpose  of  a  finger-plate.  Fig.  39  represents  a  drawer  lock,  where  the 
entire  face  is  displayed,  to  which  is  also  attached  the  handle.  Fig.  40 
represents  a  small  drawer  handle,  and  Fig.  41  a  door  bolt,  both  of  which 
display  ornamental  faces. 

The  old  system  of  embellishing  the  hinge,  and  making  it  appear  a  con- 
structive feature  of  the  door,  seems  to  be  entirely  lost  sight  of  in  these 
days  of  modern  deception.  The  present  aim  is  to  bury  the  hinge,  which 
has  degenerated  into  a  flimsy  article  known  as  the  "butt."  Fig.  42  is  a 
design  for  a  metal  hinge  intended  to  extend  the  entire  width  of  the  door. 


208 


MODERN  DWELLINGS. 


This  differs  materially  from  the  old  hinges  as  seen  on  clmrcn  doors,  which, 
however  appropriate  for  public  buildings,  appear  out  of  place  in  dwellings. 
Fig.  43,  which  serves  the  same  purpose,  shows  a  lighter  hinge,  such  as  was 
used  in  the  days  of  the  Georges. 

The  buildings  erected  by  the  British  Government  on  the  Centennial 
Grounds  at  Philadelphia  showed  how  much  this  honest  treatment  is  re- 
garded in  England.  Even  -the  nail-heads,  instead  of  being  covered  with 
putty  and  paint,  were  exposed  to  view  and  ornamented.  This  substantial 
method  of  construction  attracted  much  attention,  and  many  persons  were 
heard  to  declare  that  if  our  country-houses  were  built  on 
the  same  plan,  a  vast  improvement  would  be  the  result. 

Perhaps  the  most  prominent  pieces  of  metal-work 
seen  in  our  rooms  are  the  chandeliers,  which,  as  a  gen- 
eral  thing,  are  too  heavy  and  also  inartistic  in  shape. 
The  thinness,  which  is  one  of  the  legitimate  con- 
ditions to  be  observed  in  the  treatment  of  metal, 
seems  utterly  lost  sight  of,  and  heavy  castings,  ap- 
parently strong  enough  for  the  anchor  of  a  man- 
of-war,  are  continually  produced.    To  invest  metal 
with  forms  which  might  equally  well  be  executed 
in  stone  or  wood,  is  absurd.     The  idea  that  chan- 
deliers and  brackets  are  simply  tubes  for  the  con- 
veying of  gas  is  apparently  forgotten.    Even  huge 
pedestals  are  sometimes  placed  on  top  of  stair  new- 
els, which  seem  to  groan  beneath  their  weight. 

Fig.  44  is  a  design  of  a  chandelier,  by  Archer  &  Pan- 
r  Lock.  coagtj  jn  wm-ch  the  tubular  construction  is  apparent.  The 
work  is  so  open  in  character  as  not  to  obstruct  the  view  of  the  opposite 
wall,  and  the  effect  is  pleasing  in  the  extreme,  relieving  the  room  of  the 
cumbersome  appearance  so  frequently  presented  by  the  ordinary  chandelier. 
Apparently,  this  complaint  which  I  make  against  gas-fixtures  which 
obstruct  the  view  has  suggested  itself  to  architects  to  whom  the  placing  of 
signs  on  buildings  has  been  intrusted.  Instead  of  fastening  them  flatly 
against  the  walls,  an  invisible  screen  of  wire  is  arranged  to  project  some 
inches  from  the  building,  and  on  this  the  gilt  letters  are  placed.  In  this 
way  no  part  of  the  wall  is  concealed,  and  the  letters,  instead  of  marring 
the  architecture,  become  graceful  ornaments. 

Fig.  45  shows  a  side  bracket,  generally  known  as  the  "  sconce."  It 
consists  of  a  sheet  of  plate-glass,  bevelled  at  the  edges,  and  set  into  a  very 
legitimate  frame  of  brass  or  ormolu,  before  which  candles  were  formerly 


METALS. 


placed.     Gas  jets  may  be  arranged  in  the  same  way  with  an  equally  good 

effect.      Gas,  however,  I  do 

not  regard  as  the  pleasantest 

mode  of  lighting.     Candles, 

although  not  so  brilliant, give 

a  much  softer  and  more  be- 
coming light,  and  oil  or  ker- 
osene is  less  trying  to  the 

eyes.    The  old  Carselle  lamp 

was  one   of  the  pleasantest 

lights  for  reading,  but  this 

is  now  rather  expensive,  and 

difficult   to    manage.      The 

German  student  lamp  is,  however,  a  fair  substitute,  and  its  form  par- 
takes strongly  of  the  character  of  the  chandelier  above 
described. 

We  would  not  usually  recommend  the  use  of  gas  in 
the  country,  unless  a  supply  can  be  had  from  some  public 
works.  Too  much  machinery  in  a  house  is  liable  to  make 
trouble.  Repairs  are  almost  sure  to  be  needed,  and  great 
annoyance  is  caused  by  the  remoteness  of  mechanics.  Gas 
is  by  no  means  so  indispensable  an  article  as  some  of  our 
countrymen  might  suppose.  In  the  large  cities  of  Europe 
it  is  excluded,  in  a  great  measure,  from  private  houses, 

and  in  the  palaces  and  dwellings  of  the  nobility  it  is  not  used  except  for 

inferior    purposes.      At    fashionable 

parties  in  our  cities  it  is  often  super-  1 L^       >. 

seded  by  wax-candles. 

Bevelled    mirrors,  with    metal 

frames,  were  also  quite  common  at 

one  period;  but  instead  of  reaching  Fig  4U_BoU. 

from  floor  to  ceiling,  as  if  intended 

to  delude  the  visitor  into  the  belief  that  the  reflection  of  the  room  was 

another  apartment,  they  were  seldom  larger  than  ordinary  pictures.     The 

one  above  the  fireplace  rarely  exceeded  a  foot  or  eighteen  inches  in  height, 

but  extended  along  the  length  of  the  mantel. 

14 


Fig.  40.— Drawer 

Handle. 


210 


MODERN  DWELLINGS. 


CHAPTER  XYI. 

HOME  ART. 

Gentlemen  as  Amateur  Cabinet-makers. — Ladies  as  Wall  Decorators. — Imitation  Stained 
Glass. — Home-made  Curtains. — Rods  and  Brackets. — Fret  or  Bracket  Saws. — Burlaps 
Hearth-rug. — Impromptu  Sconces. — Grouping  of  Flags. — Renewing  Picture-frames. 

THE  possession  of  works  of  art  is  often  looked  upon  as  the  exclusive 
privilege  of  a  favored  few,  whose  incoines  allow  them  a  surplus  over 
and  above  the  expenses  of  living.  For  people  in  moderate  circumstances 
to  purchase  pictures  or  artistic  furniture  is,  according  to  popular  notions, 
an  unwarrantable  extravagance.  Yet  a  doctrine  such  as  this  would  fre- 
quently have  the  effect  of  debarring  from  the  enjoyment  of  beautiful 
surroundings  precisely  those  persons  who  are  most  able  to  appreciate 
them.  In  this  country  wealth  is  in  many  cases  possessed  by  individuals 
who,  having  amassed  it  suddenly,  lack  the  cultivation  that  would  alone 
enable  them  to  use  it  properly,  while  refinement  and  taste  are  the  attri- 
butes of  others  whose  poverty  denies  them  all  chance  of  gratifying  their 


Fig.  42.— Ilinge. 

finer  instincts.  Occasionally,  however,  we  find  persons  whose  passion  for 
beauty  is  not  to  be  crushed  or  controlled  by  the  want  of  a  liberal  income. 
Their  desire  for  artistic  surroundings  will  lead  them  to  master  the  arts 
themselves,  and  produce  with  their  own  hands  objects  that  rival  in  attrac- 
tion any  for  which  the  rich  man  ignorantly  and  carelessly  exchanges  his 
money. 


HOME   ART. 


211 


nuinmiimwmiiii  mimiiumiimiiiii 


I  have  in  mind  a  gentleman  who,  having  considerable  leisure,  amused 
himself  an  hour  or  two  each  day  in  an  amateur  workshop,  whence  he 
produced  a  number  of  very  artistic  pieces  of  furniture,  lie  told  me  he 
did  not  rely  entirely  upon  his  own  taste,  but  had  the  designs  made  full 
size  by  an  architect.  All  he  had  to  do  then  was  to  cut  out  the  wood  as 

drawn  on  the  paper,  and  exercise  his _^m, 

skill  in  finishing.  By  this  means  he 
was  enabled  to  adorn  his  house  with 
furniture  of  an  artistic  character,  the 
cost  of  which  would  otherwise  have 
been  beyond  his  means,  while  at  the 
same  time  he  combined  an  agreeable 
amount  of  exercise  with  an  employ- 
ment that  became  more  and  more  fas- 
cinating as  he  pursued  it. 

Another  gentleman,  who  had  just 
completed  an  artistic  cottage, was  asked 
where  he  was  going  to  get  his  furni- 
ture, when  he  astonished  his  friends 
by  asserting  that  the  only  apartment 
he  intended  to  furnish  completely  at 
first  was  his  workshop.  Although 
fully  occupied  by  professional  duties, 
he  managed  to  furnish  his  principal  room  in  the  course  of  twelve  months. 
His  operations  were  facilitated,  however,  by  an  accidental  circumstance, 
resulting  from  an  act  of  benevolence.  A  man  who  was  destitute  of 
means  applied  to  him  for  work.  After  being  for  some  time  the  recipient 
of  charity,  he  was  finally  intrusted  with  odd  jobs,  in  the  performance  of 
which  he  showed  so  much  ingenuity  that  he  was  soon  permitted  to  assist 
his  benefactor  in  various  mechanical  pursuits.  The  gentleman  in  ques- 
tion made  a  practice  of  devoting  one  day  of  every  week,  usually  Saturday, 
to  what  he  called  his  "  work  of  recreation."  He  soon  discovered  in  his 
assistant  an  apt  scholar,  who  could  be  trusted  to  carry  out  practically  the 
plans  arranged  by  his  master  during  the  hours  of  the  latter's  holiday.  If 
more  of  our  business  community  would  adopt  the  same  plan,  they  might 
secure  for  themselves  a  healthful  and  remunerative  pastime.  Such  exam- 
ples are  also  likely  to  have  a  good  effect  on  mechanics  as  a  class,  inducing 
them  to  regard  their  labor  as  something  above  mere  drudgery,  and  to 
infuse  some  artistic  sentiment  into  their  work. 

The  wife  of  this  gentleman,  who  also  possessed  a  kindred  talent  for  ar- 


Fig.  43.-Lighter  Hinge. 


212 


MODERN  DWELLINGS. 


tistic  work,  distinguished  herself  in  the  way  of  color,  her  desire  to  relieve 
the  whiteness  of  the  walls  of  her  dwelling  having  induced  her  to  make 
the  subject  of  decoration  a  special  study.  She  commenced  in  a  simple  way 
with  some  of  the  less  important  apartments,  venturing  on  something  more 
artistic  as  she  gained  experience,  and  reserving  the  living-rooms  for  her 
last  and  best  efforts.  The  work  finally  produced  in  the  parlor,  dining- 
room,  and  library  was  so  chaste  and  original  as  to  command  the  admira- 
tion of  all  who  saw  it.  Upon  the  parlor  alone  she  spent  a  year,  painting 
an  hour  or  two  every  day.  She  began  with  the  early  flowers  of  spring  as 
models,  and,  as  the  seasons  changed,  gathered  fresh  leaves  and  blossoms, 
until  the  characteristic  growth  of  every  month  in  the  year  was  repre- 
sented. Wild  flowers  were  apparently  her  favorite  subjects,  being  not 
only  more  easily  obtained  than  others,  but  producing  a  more  satisfactory 
effect  when  painted  upon  the  wall.  The  commonest  plants,  such  as  flags 
and  clover,  oats  and  cat-tails,  were  not  despised  by  our  artist.  These  were 
made  to  grow  out  of  an  apparent  jardiniere,  painted  to  represent  tile,  as 
the  upper  member  of  the  dado,  and  now  and  then  a  lady-bug  or  beetle 

would  obtrude  itself  in  the  midst  of  the  garden, 
adding  life  and  interest  to  the  scene.* 

In  the  course  of  a  personal  interview  with 
this  lady,  she  told  me  she  had  much  regretted 
not  being  able  to  afford  stained  glass,  and  had 
imagined  that  this  was  a  luxury  that  circum- 
stances would  compel  them  for  the  present  to 
forego.  Within  a  short  time,  however,  she  had 
read  of  a  method  common  in  France  by  which 
paper,  prepared  by  a  new  process  of  lithography, 
could  be  transferred  to  glass.  The  materials  re- 
quired were  a  few  sheets  of  tin-foil,  a  bottle  of 
transparent  varnish,  a  roller,  and  some  brushes. 
This,  together  with  the  designs,  and  glass  to  work 
Fig.  44-chandeiier.  ^Q^  included  all  that  was  necessary.  A  short 

time  since,  I  learned  from  her  husband  that  she  had  been  able  to  under- 
take the  experiment,  whicli  had  proved  a  great  success. 

The  resources  of  this  lady  seem  inexhaustible.     On  the  occasion. of  a 
recent  visit  to  her  house,  she  showed  me  some  very  novel  and  striking  cur- 

*  A  room  was  recently  decorated  in  a  manner  similar  to  that  just  described,  for  Mr. 
George  A.  Hoyt,  of  Gray  Rock,  Stamford,  Connecticut,  by  Miss  Mary  W.  M'Lain,  a  young 
lady  who  has  developed  some  original  ideas  in  decoration,  and  is  making  this  art  a  pro- 
fession. 


HOME  ART. 


213 


tains,  which  I  thought  at  first  were  raw  silk.  Blue  and  red  bands,  relieved 
with  narrow  lines  of  black,  were  woven  in  top  and  bottom,  which,  in  con- 
trast with  the  warm  cream-colored  ground,  produced  a  delightfully  bright 
and  cheerful  effect.  Upon  closer  examination,  I  was  astonished,  as  well 
as  delighted,  to  find  the  whole  curtain  made  of  the  simplest  domestic  ma- 
terial. The  ground  was  of  unbleached  muslin,  with  stripes  of  blue  and 
red  flannel  sewed  upon  its  surface,  and  the  black  lines  were  narrow  velvet 

ribbon.  These  curtains  were  suspended 
from  a  wooden  rod,  with  turned  ends — 
as  brass  at  five  dollars  a  window  was 
considered  too  expensive — and  in  place 
of  metal  rings,  loops  of  red  ribbon,  tied 
in  tasteful  bows,  were  substituted. 

Even  in  metal  rods  and  rings,  the 
taste  of  the  upholsterer  is  opposed  to 
reform.  An  attempt  at  display  is  made 
by  having  these  rods,  which  are  intend- 
ed to  support  a  few  yards  of  drapery 
only,  of  a  size  apparently  sufficient  to 
sustain  a  ton  weight.  The  excessive 
ornamentation  might  also  be  avoided; 
and  instead  of  the  rods  being  broken  up 
by  surface  decoration  of  elaborate,  and 
not  always  the  most  chaste,  design,  it 
would  be  better  to  observe  simplicity, 
allowing  the  plain  surface  to  give  a 
broad  reflection,  relieved  only  by  the 
rings.  Another  point  wherein  upholsterers  are  apt  to  run  ornamentation 
to  excess  is  in  the  terminals.  The  ends  of  these  poles  are  usually  too 
elaborate,  and  present  a  heavy  and  awkward  effect. 

But  to  return  to  the  description  of  the  wonders  achieved  by  the  lady 
concerning  whom  so  much  has  been  said.  As  metal  brackets  for  the  sup- 
port of  the  curtain-rods  were  also  impracticable  on  account  of  the  ex- 
pense, a  wooden  scroll  was  designed,  which  she  herself  cut  out  with  a 
bracket-saw. 

These  little  saws  open  another  channel  for  woman's  industry.  The 
difficulty  heretofore  has  been  the  miserable  patterns  in  the  shape  of  what 
is  called  "scroll-work,"  offered  with  the  machines.  Any  lady  interested 
in  this  work,  would  find  a  great  advantage  in  learning  to  design  the  pat- 
terns so  as  to  have  something  original.  Very  beautiful  effects  of  inlay 


Fig.  45.— A  Sconce. 


MODERN   DWELLINGS. 


may  be  produced  by  means  of  the  scroll-saw.  For  instance,  take  veneer 
of  different  colors — say  rosewood  and  holly — with  a  vine  or  geometrical 
pattern  traced  upon  its  surface,  and  let  the  two  be  sawed  out  at  once. 

The  leaves  of  the  holly  are  then  se- 
cured into  the  corresponding  spaces 
of  the  rosewood,  and  vice  versa. 
When  glued  into  their  places,  the 
effect  is  that  of  two  strips  of  inlay. 
These  veneers,  when  artistically  ex- 
ecuted, are  easily  disposed  of  to  fur- 
niture manufacturers ;  and,  consid- 
ering that  the  scroll -saw  is  not  a 
quarter  of  the  price  of  a  sewing- 
machine,  and  that,  with  a  little  ex- 
ercise of  artistic  talent,  an  operator 
can  make  her  labor  much  more  prof- 
itable, the  industry  should  receive 
encouragement.* 

A  hearth-rug  in  a  gentleman's 
study  recently  attracted  my  atten- 
tion. The  Oriental  effect  was  so  peculiar  that  I  expressed  my  admiration, 
when,  to  my  astonishment,  he  told  me  that  it  was  made  by  his  little 
daughter,  a  child  of  seven  or  eight  years.  On  a  minute  examination  I 
found  the  ground  to  be  common  burlaps,  worked  in  the  simplest  manner 
with  black  and  colored  worsted.  The  border  consisted  of  two  rows  of 
flannel,  harmonious  in  color,  the  edges  of  which  projected  one  beyond  the 
other. 

In  the  room  of  a  gentleman  in  which  were  displayed  a  number  of 
ingenious  contrivances,  I  saw  a  pair  of  sconces  made  by  himself.  He  had 
come  across  a  plate-glass  establishment,  where  they  had  a  thrifty  way  of 
utilizing  the  broken  pieces  which  usually  go  to  waste,  by  squaring  and 
bevelling  their  edges,  and  putting  them  into  simple  wooden  frames  as 
mirrors.  He  purchased  a  pair  of  these  at  a  nominal  cost,  and,  after  dec- 
orating the  frames  in  color,  he  attached  to  their  lower  sides  three  clay 
pipes  with  curved  sterns.  These  he  colored  with  liquid  bronze  in  such  a 


Fig.  46. — Bedroom  Furniture. 


*  This  scroll -sawing,  although  mechanical  in  itself,  has  proved  the  germ  of  some 
hnppy  artistic  efforts.  The  work  of  the  carving-tool  is  often  displayed  upon  the  surface 
of  the  wood;  as,  for  instance,  in  the  case  of  viue-work,  where  the  veius  may  be  in  relief 
or  intaglio,  with  rounded  stems  and  berries. 


HOME   ART. 


215 


manner  as  to  give  them  the  appearance  of  metal  brackets.  Upon  the  top 
of  each  he  placed  a  cut-glass  saucer — such  as  are  used  with  candelabra. 
These  held  the  candles ;  and,  when  completed,  at  the  expense  of  a  few 
shillings,  the  whole  sconces  compared  favorably  with  those  of  extravagant 
cost  at  fashionable  establishments. 

Another  picturesque  arrangement  in  the  same  apartment  was  the 
grouping  together  of  quite  a  number  of  small  Hags  of  different  nations, 
gathered  by  their  stems,  and  radiating  upward.  A  Japanese  banner  about 
twelve  inches  wide,  containing  a  human  figure,  was  suspended  from  the 
mantel,  reaching  to  within  a  foot  of  the  floor.  This  not  only  had  the 
effect  of  screening  the  grate  when  it  contained  no  lire,  but  gave  a  bright 
effect  to  an  otherwise 
uninteresting  portion  of 
the  room. 

I  lately  saw  an  im- 
provised china  closet  in 
the  parlor  of  a  lady  in 
Stamford  which  is  worth 
describing.  There  were 
doors  originally  on  either 
side  of  the  mantel,  one  of 
which  was  never  used, 
having  been  placed  there 
merely  for  symmetry. 
This  was  removed,  and  a 
semi-octagon  recess  was 
constructed,  with  back  and  shelves  covered  with  crimson  baize,  relieved 
to  some  extent  with  gilt  mouldings  and  brass  nails.  On  these  were  dis- 
played a  choice  collection  of  Wedgwood  and  Dresden  china.  The  whole 
arrangement  was  of  so  simple  and  effective  a  character  that  it  seemed 
especially  worthy  of  commendation.  Such  might  be  introduced  with  ad- 
mirable result  into  many  a  sombre  room. 


Fig.  47.— Dressing-table  aud  Cabinet. 


216 


MODERN  DWELLINGS. 


CHAPTEK  XVII. 

ART-SCHOOLS  FOR  WOMEN. 

Woman's  Carving  School  of  Cincinnati. — Royal  School  of  Art  Needle-work. — Industrial 
Arts  taught  in  our  Schools. — Artists  decorating  Walls. — Adapting  Curious  Workman- 
ship.— Trousseau  Chest  and  Old  Mantel. 

THE  Woman's  Pavilion  at  the  Centennial  Exhibition  showed  clearly 
what  can  be  accomplished  by  female  artists.  A  complete  set  of  fur- 
niture was  there  exhibited,  carved  with  infinite  skill  and  delicacy,  the  work 
having  been  performed  at  a  school  for  women  recently  instituted  at  Cin- 
cinnati. Indeed,  the  real  artistic  spirit  with  which  they  seemed  to  have 
entered  into  their  work  might  put  most  of  the  sterner  sex  to  the  blush. 
In  England,  owing  to  the  influence  of  the  South  Kensington  teaching., 
ladies  in  some  of  the  highest  ranks  in  life  have  made  fresco-painting  a 

study,  and  have  excelled  their  mas- 
ters in  the  art.  Such  efforts  on  the 
part  of  ladies  of  rank  to  elevate  an 
employment  whereby  women  may 
earn  a  livelihood  is  philanthropic  in 
the  extreme.  There  is,  indeed,  no 
reason  why  women  should  not  be- 
come proficient,  and  be  employed  in 
all  the  industrial  arts  where  physical 
strength  is  not  required.  The  Royal 
School  of  Art  Needle-work  in  Lon- 
don is  one,  where  the  Queen  is  both 
a  worker  and  patron ;  II.R.H.  the 
Princess  Christina  is  president ;  and 
the  Duchess  of  Northumberland  and 
the  Marchioness  of  Waterford  are 
members,  with  a  large  retinue  of  the 
nobility  as  counsel.  The  school  is  founded  for  the  purpose  of  restoring 
ornamental  needle- work  for  secular  purposes  to  the  high  place  it  once 
held  among  the  decorative  arts.  They  advertise  to  fill  orders  for  dec- 


Fig.  48.— Wash-stand. 


ART-SCHOOLS  FOB  WOMEN.  217 

orative  needle-work  of  all  kinds,  and  solicit  designs  from  the  ablest  artists 
and  architects,  with  the  assurance  that  their  instructions  will  be  carefully 
carried  out. 

If  our  ladies  would  give  more  attention  and  encouragement  to  the 
useful  arts,  they  would  increase  their  own  accomplishments,  and  at  the 
same  time  do  a  missionary  work,  the  fruits  of  which  might  be  reaped  by 
a  large  class  of  our  industrial  community.  We  might  then  hear  less  of 
the  tyranny  of  shopkeepers  and  manufacturers  in  compelling  girls  to  be 
on  their  feet  from  morning  until  night,  destroying  both  mind  and  body 
in  the  endeavor  to  earn  an  insignificant  stipend. 

Why  should  not  these  industrial  arts  be  taught  in  our  schools  and 
seminaries?  Take  painting  on  china,  for  instance.  When  some  of  our 
ladies  of  wealth  have  become  proficient  themselves,  what  a  field  of  indus- 
try they  might  establish  for  a  worthy  and  highly  gifted  set  of  women', 
who  simply  want  instruction  to  excel  in  something  better  and  higher 
than  what  has  hitherto  been  conceded  as  woman's  sphere  of  labor ! 

The  Cincinnati  school  was  founded  by  Mr.  Henry  L.  Fry  and  his  son, 
William  Fry,  whose  exquisite  work  at  the  residence  of  Mr.  Nicholas 
Longworth,  Jr.,  induced  that  gentleman,  in  connection  with  several  others, 
to  establish  a  school  for  the  instruction  of  women  in  the  art  of  carving. 
Another  member  of  the  Longworth  family  came  nobly  forward  with  an 
endowment  of  one  hundred  thousand  dollars  for  its  support.  The  enthusi- 
astic manner  in  which  nearly  a  hundred  pupils  embraced  this  opportunity 
seems  to  give  the  strongest  assurance  of  its  success.  A  similar  movement, 
we  are  rejoiced  to  see,  is  now  set  on  foot  by  some  of  the  representative, 
though  not  "  strong-minded,"  ladies  of  New  York  and  Boston.  Judg- 
ing by  the  character  of  its  officers,  we  may  expect  to  see  the  happiest 
results  from  this  noble  enterprise,  in  which  instruction  not  only  in  carv- 
ing, but  in  painting  on  pottery,  and  also  in  needle-work  of  all  kinds,  is 
included. 

One  noticeable  fact  in  this  period  of  business  depression  is,  that 
many  artists  who  formerly  devoted  their  time  exclusively  to  the  work  of 
the  studio  have  been  induced  to  exercise  their  talents  in  a  field  of  prac- 
tical, though  artistic,  industry.  The  decoration  of  private  houses  and 
public  buildings  has  thus  received  a  new  impulse  from  the  genius  of 
some  of  our  most  excellent  artists.  Mr.  Lafarge's  work,  in  the  interior 
of  Trinity  Church,  Boston,  is  a  good  example  of  this,  and  we  sincerely 
hope  that  a  large  amount  of  the  artistic  talent  of  the  country,  which  has 
heretofore  been  devoted  exclusively  to  the  canvas,  will  now  find  oppor- 
tunities for  expression  in  those  branches  of  industrial  art  which  have 


218 


MODERN  DWELLINGS. 


been,  to  a  great  extent,  monopolized  by  a  set  of  men  whose  ignorance 
has  only  been  exceeded  by  their  conceit. 

Another  method  of  producing  novelties  in  the  way  of  art  is  frequently 
accomplished  by  adapting  some  curious  piece  of  workmanship  to  a  differ- 
ent use.  Sir  Walter  Scott  converted  the  pulpit  formerly  used  at  Dry- 
burgh- Abbey  into  a  console  table,  which  was  worked  into  the  wainscot  in 
one  of  his  principal  apartments.  Here  it  retained  all  its  traditional  in- 
terest, and  at  the  same  time  performed  a  useful  part,  so  that  the  room  it 
occupied  was  not  begrudged. 

A  gentleman,  who  had  developed  considerable  talent  in  this  line, 
showed  me  a  most  elaborately  carved  mantel,  which  looked  as  if  it  might 

have  cost  a  large  sum  to  manufac- 
ture. He  was  in  the  habit  of  attend- 
ing the  bric-a-brac  auctions  at  Leav- 
itt's,  and  among  other  things  picked 
up  what  was  formerly  an  old  trous- 
seau chest,  but  which,  from  want  of 
care,  had  become  pretty  well  demol- 
ished— so  much  so,  indeed,  that,  like 
some  antique  china,  the  pieces  were 
all  that  remained.  The  collector  ap- 
preciated these,  however,  and,  per- 
ceiying  their  capability,  devised  an 
original  plan  for  their  reconstruc- 
tion; and  his  library  mantel  proved 
how  successfully  it  was  realized.  In 
another  room  he  showed  me  an 
equally  artistic  mantel,  which  he  said 
was  in  the  original  kitchen  of  his 

Fig.  49. — Commode.  ,  ,     j    .     ,        ,  ••          -• . 

house,  now  converted  into  the  din- 
ing-room. It  was  composed  of  simple  boards  and  rude  moulding,  origin- 
ally painted  black.  Over  this  he  painted,  with  his  owrn  hands,  a  coat  of 
chocolate,  which  served  as  a  good  groundwork  for  some  beautiful  effects 
in  polychrome. 

The  fireplace  proper  he  had  simply  faced  up  with  Philadelphia  brick. 
A  pair  of  old  fire-dogs,  and  a  fender  which  he  had  found  stowed  away  in 
the  garret,  were  brightened  up  and  made  to  adorn  the  hearth. 

Even  where  wealth  is  missing,  there  are  many  pleasant  devices  by 
which  rooms  may  be  made  attractive.  The  effort  to  discover  means 
whereby  artistic  effects  may  be  produced,  without  the  expenditure  of  large 


ART-SCHOOLS   FOR  WOMEN.  219 

sums  of  money,  has  an  educating  and  refining  influence,  added  to  which 
is  the  satisfaction  attendant  upon  the  overcoming  of  difficulties.  A  little 
study,  aided  by  patience  and  industry,  will  often  serve  to  develop  grace 
and  beauty  out  of  the  poorest  materials;  while,  if  taste  be  lacking,  the  rich- 
est ornamentation  will  only  produce  a  disagreeable  and  annoying  effect. 


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